#Aluminum Wire Drawing Oil

[larcenywrites]

Tony would draw a heart on your arm with his greasy ass fingers that were messing with motor oil like a minute ago and just be like "what? that's peak romantism!" if you complain after he realizes you haven't ogled him for a total of 10 minutes (which meant that he just HAD to get your attention somehow)

Tony himself is peak romanticism 😌 who else is gonna put heart shaped grease marks on your arms and maybe clothes or making fun little shapes for you out of aluminum wires! It’s definitely bound to get your attention, but also- why weren’t you watching him do it in the first place 😠😠😠🩵🩵🩵

[busbarmachine001]

What are the CNC bus bending machines?

The staff furnishings are special manipulation staff, craft staff, and maintenance staff of each CNC home processing machine. All staff must be happy to improve their business skills.

The machine has three processing units: shear, punching, and bending, which can be perforated, shear, and bending processing of the bus. By replacing the bending unit mold, special processing such as flattening, flowing flowers, voltage cable joints, buttons, etc. can also be achieved. What are the CNC bus bending machines?

Drawing the bending unit of the use of the three units of the bus. The bus machine mainly includes three units, namely the bending unit (as shown below), the punching unit, and the shear unit. Each unit implements the punching and shear operations. The below of the above three units is introduced in detail below.

What are the CNC busbar machine? As a result, the ground line itself must meet technical standards; the quality is reliable; the use of safety must be used. Technical requirements for ground lines. The SD332-89 "Technical Standards for Wolving Short-circuit Line" promulgated by the Ministry of Water Conservancy and Electricity has made comprehensive regulations on the technical requirements of the ground line. The quality and use of electrical, machinery, chemistry and fever are safe and reliable to staff. The selection of the section of the ground line should be determined according to the actual maximum short -circuit capacity of the power system. When the rated time on the ground wire nameplate is not equal to the actual short -circuit duration, the allowable current of the ground line should be converted.

Usually hydraulic oil can be checked by observation and testing. The characteristics of hydraulic oil will change after using 5000 to 20,000 hours, and will tend to solidify (thicker). Usually, when the color of 2000 hours or oil becomes brown and black, the oil should be changed in time.

The role of hydraulic punching machine: Separate hydraulic punching machine is suitable for L, H tablet copper, copper plate aluminum exhaust punching. The bottom is designed with a flat seat, and it is stable. Single -hole oil recovery, the mold is not damaged with high -carbon tungsten alloy steel. It is specially used in metal plates such as corner iron, flat iron, copper plates, etc., and is especially suitable for the operation of the power, construction and other industries in the wild construction site. What are the CNC bus bending machine?

He said, "my country will become the largest market for robots, but can our technology and manufacturing capabilities cope with this competition." "We must not only improve the level of robots in my country, but also occupy the market as much as possible."

[master-ps]

Wet Wire Drawing Lubricants Market, Share, Size, Trends, Industry Analysis, Forecast and Outlook

Wet Wire Drawing Lubricants Market

The market research report provides a comprehensive analysis of the industry, with a specific focus on the Wet Wire Drawing Lubricants Market. It examines the size, growth rate, and major trends within the Wet Wire Drawing Lubricants Market, offering valuable insights into its current state and future prospects. The report explores the significance of Wet Wire Drawing Lubricants in driving market dynamics and shaping business strategies. It investigates the market drivers, such as increasing consumer demand and emerging trends related to Wet Wire Drawing Lubricants, providing a deep understanding of the factors influencing market growth. Additionally, the report assesses the competitive landscape within the Wet Wire Drawing Lubricants Market, profiling key players and their market share, strategies, and product offerings. It also addresses market segmentation, identifying different segments within the Wet Wire Drawing Lubricants Market and their unique characteristics. Overall, the market research report equips businesses operating in the Wet Wire Drawing Lubricants Market with valuable information and actionable recommendations to capitalize on opportunities and navigate the challenges in the industry.

Request Free Sample Report @ https://www.vertexbusinessinsights.com/request-sample/157/wet-wire-drawing-lubricants-market

This research covers COVID-19 impacts on the upstream, midstream and downstream industries. Moreover, this research provides an in-depth market evaluation by highlighting information on various aspects covering market dynamics like drivers, barriers, opportunities, threats, and industry news & trends. In the end, this report also provides in-depth analysis and professional advices on how to face the post COIVD-19 period.

The research methodology used to estimate and forecast this market begins by capturing the revenues of the key players and their shares in the market. Various secondary sources such as press releases, annual reports, non-profit organizations, industry associations, governmental agencies and customs data, have been used to identify and collect information useful for this extensive commercial study of the market. Calculations based on this led to the overall market size. After arriving at the overall market size, the total market has been split into several segments and sub segments, which have then been verified through primary research by conducting extensive interviews with industry experts such as CEOs, VPs, directors, and executives. The data triangulation and market breakdown procedures have been employed to complete the overall market engineering process and arrive at the exact statistics for all segments and sub segments.

Wet Wire Drawing Lubricants Market Segment 

Wet Wire Drawing Lubricants Market by Type

Wire Drawing Oil

Wire Drawing Grease

Wet Wire Drawing Lubricants Market by Application

Carbon steel Wire

Stainless Steel Wire

Tired Bead & Cord

Galvanized Wire

Aluminum & Alloy wire

Copper Wire

Others

Wet Wire Drawing Lubricants Market by End Users

Automotive

Construction

Aerospace

Energy

Industrial

Consumer Goods

Others

Wet Wire Drawing Lubricants Market by Region

North America

Europe

Asia Pacific

South America

Middle East & Africa

Ask Queries @ https://www.vertexbusinessinsights.com/enquiry/157/wet-wire-drawing-lubricants-market

Table of Content

1         Executive Summary

 2         Market Introduction

 2.1         Definition

 2.2         Architecture

 2.3         Scope of the Study

 2.4         Related Stakeholders

 3         Research Methodology

 3.1         Introduction

 3.2         Primary Research

 3.2.1        Key Insights

 3.2.2        Breakdown of Primary Interviews

 3.3         Secondary Research

 3.3.1        Important Sources

 3.4         Market Size Estimation Approaches

 3.4.1        Top-Down Approach

 3.4.2        Bottom-Up Approach

 3.4.3        Data Triangulation

 3.5         List of Assumptions

 4         Market Dynamics

 4.1         Introduction

 4.2         Drivers

 4.3         Restraints

 4.4         Opportunities

 4.5         Porter's Five Forces Model Analysis

 4.6         Value Chain Analysis

 4.7         Impact of COVID-19 on Global Wet Wire Drawing Lubricants Market

 5         Global Wet Wire Drawing Lubricants Market, By Type

 5.1         Introduction

 5.2         Wire Drawing Oil

 5.3         Wire Drawing Grease

 6         Global Wet Wire Drawing Lubricants Market, By Application

 6.1         Introduction

 6.2         Carbon steel Wire

 6.3         Stainless Steel Wire

 6.4         Tired Bead & Cord

 6.5         Galvanized Wire

 6.6         Aluminium & Alloy wire

 6.7         Copper Wire

 6.8         Others

 7         Global Wet Wire Drawing Lubricants Market, By End User

7.1    Introduction

7.2    Automotive

7.3    Construction

7.4    Aerospace

7.5    Energy

7.6    Industrial

7.7    Consumer Goods

7.8    Others

 8         Global Wet Wire Drawing Lubricants Market, By Region

 8.1         Introduction

 8.2         North America

 8.2.1        US

 8.2.2        Canada

 8.2.3        Mexico

 8.3         Europe

 8.3.1        Germany

 8.3.2        UK

 8.3.3        France

 8.3.4        Italy

 8.3.5        Spain

 8.3.6        Rest of Europe

 8.4         Asia-Pacific

 8.4.1        China

 8.4.2        India

 8.4.3        Japan

 8.4.4        South Korea

 8.4.5        Rest of Asia-Pacific

 8.5         Middle East and Africa

 8.6         South America

 9         Competitive Landscape

 9.1         Introduction

 9.2         Vendor Evaluation Criteria

 9.3         Vendor Share Analysis, 2021

 9.4         Recent Developments, 2019-2021

 9.4.1        New Deployment Model Launches

 9.4.2        Partnerships

 9.4.3        Mergers or Acquisitions

 9.4.4        Business Expansions

 10     Company Profiles

(This section covers the Business Overview, Financial Overview, Deployment Model and Deployment Model Offerings, Recent Developments, SWOT Analysis, and Key Strategies of the top Market

Vendors. The given sequence does not represent their rankings in the market.

 10.1     Quaker Chemical Corporation

 10.2     Chemetall (a BASF company)

 10.3     Fuchs Group

 10.4     CONDAT

 10.5     Houghton International

 10.6     Eastern Petroleum Private Limited

 10.7     Petronas Lubricants International

 10.8     Ultrachem Inc.

 10.9     Bechem Lubrication Technology

 10.10  Blachford Inc.

 10.11  Apar Industries Ltd.

 10.12  Oelheld GmbH

 10.13  NOVACHEM

 10.14  Henkel AG & Co. KGaA

 10.15  Chevron Corporation

 10.16  Hindustan Petroleum Corporation Limited (HPCL)

 10.17  Nynas AB

 10.18  Sunoco, Inc.

 10.19  Petrofer AG

 10.20  KYODO YUSHI CO., LTD.

 10.21  Croda International Plc

 10.22  Moresco Corporation

 10.23  Qingdao Hi-Duratight Co., Ltd.

 10.24  Amsonic-Hamo

 10.25  Acculube

 10.26  Others

 11     Appendix

 11.1     Discussion Guide

 11.2     Customization Options

 11.3     Related Reports

Continue…

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[judiansteelcastingandrolling]

What Is a Hot Rolling Machine?

A hot rolling machine, also known as a hot rolling mill, is an industrial machine used to shape and form metal at high temperatures. It is a complex piece of equipment that consists of several components working together to process metal into desired shapes and dimensions.

The Main Components of a Hot Rolling Machine

Reheating Furnace

The metal is heated to a specific temperature in a reheating furnace before it enters the rolling mill. The furnace uses different heat sources, such as natural gas, electricity, or fuel oil, to raise the metal's temperature to its optimal rolling temperature.

Rolling Mill Stands

The rolling mill stands consist of a series of rolls that apply pressure to the metal to reduce its thickness and shape it. The number and arrangement of rolls vary depending on the type of rolling mill and the desired product.

Rollers

The rollers are the key components that apply pressure and deformation to the metal. They can be cylindrical or shaped rolls, depending on the desired shape of the final product. The rollers rotate in opposite directions to draw the metal between them and reduce its thickness.

Guides and Guides Boxes

Guides and guide boxes are used to direct the metal through the rolling mill. They ensure proper alignment and control of the entry and exit of the metal, maintaining its uniformity and preventing defects.

Cooling and Quenching Systems

Hot rolling generates a significant amount of heat in the metal. Cooling and quenching systems, such as water sprays or cooling beds, are used to rapidly cool the metal after it passes through the rolling mill. This helps to set its final shape and properties.

Coiling or Cutting Systems

Once the metal has been rolled to the desired shape and dimensions, it may be coiled into large rolls or cut into specific lengths, depending on the intended use and customer requirements.

Final Products of a Hot Rolling Machine

A hot rolling machine can roll a wide range of metal products. Some common products can be produced using a hot rolling machine.

Bars and Rods

Hot rolling machines are used to produce metal bars and rods with specific dimensions and surface finishes. The hot rolling machine rolling bars and rods is called the steel bar rolling mill production line. These bars and rods are widely used in construction, infrastructure projects, machinery manufacturing, and other applications.

Structural Shapes

Hot-rolling machines can roll metal into various structural shapes, such as I-beams, angles, channels, and rails. These shapes are commonly used in construction and structural engineering projects.

Wire

Hot rolling machines can also be used to produce metal wire of different diameters. The wire is rolled to reduce its thickness and improve its mechanical properties. Metal wire finds applications in industries such as construction, electrical wiring, and manufacturing.

Finally

Hot rolling machines are used to process a variety of metals, including steel, aluminum, copper, and alloys. They are essential in the automotive, construction, aerospace, and manufacturing industries, where high-quality metal products with precise dimensions and properties are required.

The specific configuration and features of a hot rolling machine can vary depending on the application and the type of metal being processed. Different rolling mills may have additional equipment to ensure efficient and precise production.

[true-power-limited]

Lightning Arresters are the new lifeline of today’s world owing to the unprecedented thunderbolts and lightning taking place across the world now and then. It’s not that Lightning didn’t happen in earlier days, but nowadays, the frequency and the intensity of lightning strikes have grown exponentially to draw immediate attention and install prompt lightning protection systems to save oneself and one’s property from the menace of lightning strikes.

The climatic changes and global warming have made it mandatory for us to safeguard ourselves and our property from uncontrolled natural calamities, which we cannot control but can only safeguard ourselves in one way or another.

Conventional Lightning Arresters:

Conventional lightning arresters are solid rods or hollow pipes with a pointed top or 4–5 spikes on the top to make the lightning strike in its near vicinity fall over it rather than somewhere else. These Lightning Arresters are connected to the ground earthing with down conductors to immediately ground the lightning current into the earth without allowing it to do any damage in the surroundings. In this way, lives, structures, and other objects which come under the protective cover of the lightning arrester, stay safe from the lightning strikes.

Conventional lightning arresters are commonly available as Copper Lightning Arresters or Aluminum Lightning Arresters.

ESE Lightning Arresters are modern Lightning arresters that have a wide area of protection coverage from 35 mtrs to 107 mtrs of the radius of their installation. These ESE lightning arresters are the most commonly used lightning protection system nowadays.

True Power, , India’s №1 Chemical Earthing and Lightning Arresters company, manufactures, supplies, exports, designs, and installs Conventional and ESE Lightning Protection Systems across PAN India and selected countries.

True Power Conventional Lightning Arresters are manufactured in line with IEC 62561 part I & IEC 62305 with 99.99% Pure Copper procured from the best global suppliers, while True Power’s ESE Lightning Arresters are manufactured in line with UNE 21 186, NFC 17–102, and NFPA 780.

With more than a Lakh Lightning Protection Systems working successfully for decades, True Power has become the First Choice in Chemical Earthing & Lightning Protection Systems. True Power Products are RDSO approved, UL Listed, RoHS Certified, and have more than 50 approvals to their credit from Central and State Govt. authorities and depts.

True Power Lightning Protection Systems are installed in a wide spectrum of applications including Research & Data Centers, Hospitals, Military Installations, Residential buildings & complexes, Commercial places, Ministries, Govt. offices and residences, Oil & Gas Projects, Religious structures, Monuments and a lot of other places to discuss here all.

True Power otherwise is in 8 different electrical verticals namely: Chemical Earthing, Lightning Arresters, Solar Panels, Transformers, Module Mounting Structures, Fans, Geysers, Wires & Cables. With 3 State-of-the-art manufacturing setups, 1000+ Employees, 22 Branch offices, 40 Service Centers, and a renowned brand image across the Globe, today True Power has become a every household name.

Talk to us today and install a well-designed True Power Lighting Protection System at your place to safeguard yourself, your family, your property, and your nearby surroundings.

Contact us:

Call us: 8318455691

Email us: neetu@truepower.co.in

Address: D 242, Sector 63 Rd, D Block, Sector 63, Noida, Uttar Pradesh 201301

For more information visit: https://www.truepowergroup.in/lightning-arresters-A-must-for-every-home-office-industry-to-stay-safe-install-today.html

True Power Earthings Private Limited

[meetyou00]

Classification of wires and cables

"There are many types of cables, and different types correspond to different functions and application fields. Let's share with you the classification and application fields of wires and cables." Classification of wire and cable:

What are the commonly used wires and cables according to their uses? Answer: According to the purpose, it can be divided into bare wire, insulated wire, heat-resistant wire, shielded wire, power cable, control cable, communication cable, radio frequency cable, etc.

What types of insulated wires are there? Answer: Common insulated wires are as follows: PVC insulated wire, PVC insulated flexible wire, nitrile polyvinyl chloride mixture insulated wire, rubber insulated wire, agricultural underground direct buried aluminum core plastic insulated wire, rubber insulated cotton yarn textile soft wire Electric wires, polyvinyl chloride insulated nylon electric power, sheathed wires for lighting, polyvinyl chloride insulated cords, etc.

Where is the cable bridge suitable for? Answer: The cable tray is suitable for indoor and outdoor overhead laying of power cables and control cables in general industrial and mining enterprises. It can also be used for indoor and outdoor erection of telecommunications, radio and television departments.

What are the accessories for the ACSR? Answer: Common electrical accessories include cable terminal junction box, cable intermediate junction box, connecting pipe and terminal, steel plate junction groove, cable tray, etc.

What is the cable intermediate connector? Answer: The device connecting the conductor, insulation shielding layer and protective layer of the cable and the cable connecting the cable wire is called the cable intermediate joint. Wire and cable application:

Power system The wire and cable products used in the power system mainly include overhead bare wires, bus bars (busbars), power cables (plastic cables, oil-paper power cables (basically replaced by plastic power cables), rubber-sheathed cables, overhead insulated cables), branch cables (replacement Some busbars), electromagnetic wires, electric wires and cables for electrical equipment.

Information transmission system The wires and cables used in the information transmission system mainly include local telephone cables, TV cables, electronic cables, radio frequency cables, optical fiber cables, data cables, electromagnetic cables, power communication or other composite cables, etc.

Mechanical equipment and instrumentation system This part applies to almost all products except overhead bare wires, but mainly power cables, electromagnetic cables, data cables, instrument cables, etc. Wire and cable products are mainly divided into five categories:

Bare wire and bare conductor products The main features of this kind of products are: pure conductor metal, no insulation and sheath layer, such as steel cored aluminum stranded wire, copper-aluminum busbar, electric locomotive wire, etc.; the processing technology is mainly pressure processing, such as smelting, rolling, drawing, stranding Line/pressed stranded wire, etc.; products are mainly used in suburbs, rural areas, user trunk lines, switch cabinets, etc.

Power cord The main features of this type of product are: extruding (winding) the insulating layer outside the conductor, such as overhead insulated cables, or multi-core twisting (corresponding to the phase wire, neutral wire, and ground wire of the power system), such as overhead wires with more than two cores. Insulated cables, or sheathed, such as plastic/rubber sheathed wires and cables. Main technology has drawing, stranded, insulation extruded (wrapped), stranding, armouring, sheath to extrude etc., and the different craft combinations of various products are different. This product is mainly used for power generation, power distribution, power transmission, power transformation and power supply lines to transmit high current (tens of amperes to thousands of amperes), high voltage (220V to 500kV and above) strong electric energy.

Wires and cables for electrical equipment The main features of these products are: many varieties and specifications, wide application range, and can be used for voltages of 1kV and below. In the face of special occasions, new products are continuously derived, such as fire-resistant cables, flame-retardant cables, low-smoke zero-halogen/low-smoke low-halogen cables, termite-proof, rodent-proof cables, oil-resistant/cold-resistant/temperature-resistant/wear-resistant and corrosion-resistant cables, medical /agricultural/mining cables, thin-walled wires, etc.

[zimzamkirsty]

Nnenna Okore

Not really related to my work but this is one of my favorite artists who actually helped me also get even more interested in sculpture and installation last year. I sort of forgot about her but came across her again when reading up on some articles since Glen has been encouraging us to keep up with Art news and just read up on people we like and I was researching for other female sculpture artists at the same time. Have not done her justice with this brief analysis and research on her work so I really do suggest looking into her story and her art practice.

This is the website link I saw her at again: https://www.artsy.net/article/artsy-editorial-20-female-artists-pushing-sculpture-forward

Her name Nnenna Okore and she lives and works in Chicago. She was born in Australia but her parents were from Nigeria to where she moved to at age of 4 and grew up in Nsukki mostly. Her original mediums he worked in were oil paints and drawings but found she did not like the outcomes although she was very fascinated with the colors and how they played off each other. She was experimenting with any materials around to create three dimensional work. Exploring movement and finding inspiration from where she grew up in Nigeria surrounded by nature and drawing upon/studying the craft culture and wildlife. By observing her surroundings she was finding her unique take on the world and how she would then project that through her installations and sculptures. Repetitive movements in prominent in her process and these draw from watching people in their daily tasks such as making brooms by hands. 

A quote from her that when working in the three dimensional forms it allows her to completely put herself and immerse ‘in the well of sensory experiences’. This is really cool to hear as it kind of reflects what I seem to do. I let myself sink into that state of being and try to immerse herself in it. I also find a connection with her work from where I was born in Zimbabwe and grew up living in Zambia and going to school in South Africa. In Zambia I was surrounded by nature and wildlife and her work I can connect to it because it reminds me of home a little bit. (not saying all African countries are the same by any means, each country is beautiful and unique with their own cultures and people and experiences and people need to realize that, just have personally had similar experiences is all)

She was taught by El Anatsui (Ghanaian sculptor who is another one of my favorite artists who again got me interested in it) and so her works have a resemblance to his massive works of seemingly moving fabric pieces. The materials she uses often are burlap, wire and paper where she goes through the slow process and techniques of dyeing, winding, weaving and testing and teasing materials into these really beautiful forms that seem to take a life on as their own. I dunno, to me they look like they are moving and alive because of the rich vibrant colors and the materials used which are sometimes sourced from West Africa so there again is that direct link to her upbringing and culture.

Nnenna Okore, Here and Now, 2017, Cheesecloth, dye, wire and jute string,  209 x 203 x 33 cm

You can see how it really resembles a flower that looks to be on the edge of dying with those elements of life from the color coming through. She talks a lot about life and death and the celebration of that.

Above is an installation done at Krannert Art Museum. Okay this is my last one

Another room installation piece that I could not find the name of but she seems to do separate artworks with names and them room installation/site specific work.

Here is a link to an interview: https://www.studiointernational.com/index.php/nnenna-okore-interview-my-work-seeks-to-highlight-earths-vulnerability

El Anatsui, Bleeding Takari II, 2007, aluminum bottle caps and copper wire

Just to show his work too so you can see who her teacher can create.

[olivereliott]

Top Five Harley-Davidson Sportsters, Part One: Ironheads

Harley-Davidson has just rebooted one of the world’s longest-running model lines, with the launch of the new Sportster S. But remarkably, it’s only the third major engine update in the Sportster’s 60-plus years on this earth.

Before the new Revolution Max-powered Sportster S came, we had the Evolution motor that debuted in 1986. And before that, the iconic Ironhead. But throughout each era, the Sportster has always been a mainstay of the custom scene.

To celebrate, we’ve rounded up our ten favorite Sportster builds, divided by their motors. This week, we’re featuring five top-shelf Ironheads from some of the world’s best custom builders—including illustrious names like Max Hazan [above] and Hideya Togashi [below].

Next week, it’s the Evo’s turn.

Hide Motorcycle There’s a long history of Japan’s love for Americana, and the humble Sportster is no exception. Case in point: this Ironhead Sportster by Hideya Togashi of Hide Motorcycle (that’s ‘Hee-day’). It was one of the stars of 2018’s Mooneyes show—a show that Togashi-san is a regular fixture at.

The bike’s built around an original but refurbished 1966 XLCH motor, complete with a Linkert DC-7 carb. But the rest of it is mostly is custom, and it was built without any specific style or theme in mind. “As always, I cherish the balance, and maximize the beauty,” says Hideya.

The motor sits in a scratch-built nickel-plated hardtail frame, with the OEM frame number plate grafted on. Hideya kept the original steering head, triples and forks, but added custom sleeves. The Harley rolls on 21F/18R wheels with drum brakes.

Hideya fabricated the aluminum headlight nacelle and fuel tank, and built the oil tank. The rear fender’s been scalped from a vintage Harley FX Super Glide, then modified to suit. Swept back bars and a pair of beautifully-bent nickel-plated exhausts add to the vintage vibe.

The paint’s extra classy too—a 1930s Harley scheme laid down by Skop Paint Works. Hide’s Ironhead blends vintage speedway and flat track styles together to create a minimalistic and impossibly cool machine. The perfect use of an Ironhead motor. [More]

Hot Chop Speed Shop Here’s another bike that stopped visitors to the 2018 Mooneyes event dead in their tracks: a twin-engined Harley drag bike by Kentaro Nakano at Hot Chop Speed Shop in Kyoto. Using two Sportster XLCH engines, Nakano-san built the monster as a tribute to the drag racers of the 70s.

Unsurprisingly, it picked up two awards at the show—from the top Japanese mags, Hot Bike and Vibes.

‘Double Trouble’ uses a 1969 Ironhead in front, with an older engine at the rear. Both run with S&S Super B carbs, fitted with custom velocity stacks. Kentaro’s friend Kazuhiro Takahashi of Sakai Boring helped rebuild the engines.

The two V-twins are linked by connecting plates, and their output shafts are connected to two separate primaries. The transmission’s a four-speed from a 1980s Big Twin and Kentaro has set the timing of the two motors so that they go ‘potato potato’ at idle, but scream at high revs.

The whole arrangement is housed in a custom hardtail frame, fabricated from steel tubing. There’s a set of early 70s Ducati Imola forks up front, with 18” rims at both ends wrapped in M&H drag slicks. Kentaro installed a pair of Airheart brakes up front, with a Wilwood brake out back.

All of the bodywork was fabricated in aluminum, from scratch. Fuel sits in the cylindrical reservoir up front, with oil held in the seat ‘cowl.’ Custom upholstery from Atelier Cherry adds to the period-correct look.

Double Trouble’s finished off with a narrow set of custom drag bars, with a 1970s H-D tacho out front. The bodywork’s been left raw, with tidy Hot Chop Speed Shop decals on the tank. Buttoned up, it’s both elegant and monstrous. [More]

Hazan Motorworks Max Hazan’s work speaks for itself, but what’s remarkable is that the American builder’s had an unmistakable signature from day one. If you don’t believe us, then consider the fact that this Sportster-powered artwork was only his fourth build.

“I start with a motor that I find aesthetically pleasing, put it on the table, and build the bike around it,” Max told us back then. In this case, the motor is exquisite. Max built it up with two 1981 Ironhead front heads, split the rocker covers and added matching Amal carbs.

The frame was built from 7/8” and 1” steel tubes, and also holds the oil and wiring. The front-end’s a work of art on its own; it uses two springs under the fuel tank, and a damper behind the headlight. The only rear suspension is a pair of springs under the seat, with about 1.5” of travel.

Max had a set of 1920s car tires in his hands, so he built the bike up with a 30” wheel out front, and a 31” hoop at the back. They suit the scale of the bike too—which measures eight feet long, but weighs just 300 lbs.

Almost everything was fashioned by hand, using metal that was lying around the workshop, or, in some cases, small salvaged parts. There’s a frosted shot glass as a taillight cover, and a porcelain doorknob on the hand shifter. The handmade tank only holds 1.5 gallons… but Max is under no illusions about his creation having to be ridden far.

Eight years on, this Ironhead still stands as one of our favorite Harleys—nay, customs—and some of Max’s best work. [More]

HardNine Choppers The 1979 Harley-Davidson XLCR is arguably too rare to be customized these days, but the owner of this Sporty has three. So he had no qualms about handing one over to Swiss builder Danny Schneider for a makeover.

Danny, who operates as HardNine Choppers, is an ex-motocrosser who had previously built two Triumph flat trackers, and was itching to give a Harley the same treatment. So he took on the project with the provision that he could turn it into a tracker. Luckily, the client agreed.

Danny’s work went deep—starting with the motor that he bored out from 997 cc to 1,340 cc, with KB Performance pistons. The carb is from the Harley performance specialists, S&S Cycle, and the exhaust is a custom nickel-plated system that exits under the seat. Danny had to relocate the oil tank to accommodate it.

The custom fuel tank echoes the lines of the original XLCR unit, but it’s actually a slimmer, split design (the left side houses the oil). Danny hand-shaped an aluminum tail section too, with slits to help dissipate heat. He made the seat pad himself, too.

Suspension is by way of Showa shocks from an FXR, fitted with Öhlins cartridges, and Bitubo rear shocks. It rolls on 21F/16R spoked wheels, with a Beringer brake set that Danny drove to the French company’s HQ to have made.

This XLCR is a clever mix of classic style and modern parts, tied together with a host of custom touches and a fresh paint job inspired by a mini-bike spotted on the street (true story).

It’s also a great story of perseverance; Danny took a two-year break in the middle of the project to welcome his daughter into the world and battle testicular cancer. Then he crammed two month’s worth of 15-hour days in to finish it in time for the MBE Expo show in Verona, Italy. Much respect. [More]

DP Customs We’ve featured a slew of slammed and hot-rodded Harleys from the now-defunct DP Customs over the years, but this was one of their wildest. Brothers Jarrod and Justin Del Prado built it as a personal project between client jobs, using Justin’s own 1000 cc 1979 Ironhead Sportster as a donor.

DP Customs went all-out, starting with a turbo that had been sitting in the shop waiting for the right project.

The motor was rebuilt with forged pistons and new valves and springs, then the turbo was installed with a custom draw-through setup, and a Mikuni carb. From the custom aluminum intake and exhaust, to the custom oil system that runs into a Mooneyes tank, it’s an impressive setup.

Like three of the other Harleys on this list, this one features a scratch-built hardtail frame. It uses DP Customs’ signature 6” stretch and 4” drop, with a custom 19” wheel up front, and a modified 15” car wheel at the back. The front brake’s a Brembo, and the rear is a custom system with a combination sprocket and rotor.

Up top is a wafer-thin seat, with a traditional peanut tank up front. DP Customs installed clip-ons with Biltwell Inc. grips, and head- and taillights—but there’s no speedo, and no turn signals. The asymmetrical paint job, red frame and gold wheels should clash, but somehow they harmonize, maximizing the Harley’s eye candy appeal.

DP Customs admit the bike wasn’t built with practicality in mind, summing up that “it hauls ass in a straight line, and the brakes work.” [More]

[processproductionsophielindsay]

CHRISTO AND JEANNE CLAUDE

Wall of Oil Barrels - Rideau de Fer (The Iron Curtain) (1961-62)

https://doyle.com/auctions/13dd02-n-a/catalogue/133-christo-iron-curtain-wall-of-oil-barrels-color-offset-lithograph

Christo and Jeanne-Claude's first collaborations involved wrapping dozens of oil barrels with cloth and rope, and stacking them in layers across public spaces to partially or completely block access. Earlier iterations of this site-specific work on Rue Visconti in Paris included a version in the courtyard of Christo's studio, as well as 1961's Stacked Oil Barrels and Dockside Packages, both of which were installed for two weeks on the harbor in Cologne, Germany. Particularly in Wall of Oil Barrels, the artists expanded the scope and scale of the previous works, creating a larger and more impenetrable wall of both wrapped and unwrapped barrels that blockaded a section of a city street. Christo was propelled by the idea of spatially reconfiguring a specific outdoor location with a common, contextually misplaced object, a notion that would play a role in many of his future creations and collaborations with Jeanne-Claude. The piece used 89 barrels, and measured 13.2 feet wide, 2.7 feet deep, and 13.7 feet tall. It took eight hours to assemble. An expression of the artists' views on the disruptive nature of the Cold War and the Berlin Wall, which was then being built, Wall of Oil Barrels commented on the politics of space, freedom, and mobility under increasingly conservative and divisive governmental policies throughout Europe. Since they installed it without permission, Parisian authorities demanded that the piece be dismantled, but Jeanne-Claude could persuade them to allow the work to remain in place for several hours. This monumental work and its brief celebrity as a public nuisance helped Christo and Jeanne-Claude gain early notoriety in Paris. Oil barrels became an important medium for Christo in 1958. He had been using smaller, every day, affordable objects like beer cans, but the barrels started a significant shift towards larger works, while still adhering to a distinct type of sculptural form. Wall of Oil Barrels was Christo's first large-scale work, and marked the beginning of the collaborative, massively scaled, site-specific works for which he and Jeanne-Claude would become famous.

Wrapped Coast (1968-69)

http://www.panthalassa.org/wrapped-coast-by-christo-jeanne-claude/

Using one million square feet of erosion-control synthetic fabric, 35 miles of polypropylene rope, 25,000 fasteners, threaded studs, and clips, Jeanne-Claude and Christo wrapped 1.5 miles of rocky coast off Little Bay in Sydney, Australia to create Wrapped Coast in the late 1960s. This method of wrapping was something that Christo had experimented with previously, using smaller objects, but this monumental effort became the largest single artwork ever created surpassing Mount Rushmore. It remained wrapped for ten weeks, beginning October 28, 1969. The draping of the fabric over the coast helped to re-contextualize and de-familiarize a well-known natural setting, and revealed the essential form and shape of the coast as a discrete object. Passersby experienced a shift in their commonplace perspective of the landscape by having limitations - both visual and physical - imposed upon the viewing process. This selective imposition also brought about new and unexpected revelations about the coastline, particularly its formal and structural qualities as a cohesive object with a distinct shape, substance, and volume.

Valley Curtain (1975)

https://www.theartstory.org/artist/christo/artworks/

In the Spring of 1970, Christo and Jeanne-Claude began work on Valley, a 200,200 square foot section of orange, woven nylon fabric that stretched across an entire Colorado valley. The gigantic, crescent-shaped fabric was suspended on a steel cable and anchored to two mountain tops, between Grand Junction and Glenwood Springs in the Hogback Mountain Range. They tied it down with 27 ropes and spread across the valley at a maximum measurement of 1,250 feet wide and 365 feet high. Valley Curtain was a tremendous feat of engineering and coordination that experienced significant and expensive setbacks. Christo and his team first attempted to install the curtain on October 9, 1971, but a gust of wind caught the fabric and it flew away, ripping on the surrounding rocks and construction equipment. On August 19, 1972, it was at last erected successfully, but it remained intact for only 28 hours, until a wind at over 60 miles per hour threatened to tear through it once more. Workers dismantled the piece shortly thereafter. For the brief time that it was in place, the bright orange drape slung between the craggy mountains reinvigorated the valley's contours, highlighting its natural flow, rhythm, and volume. Like many of the duo's large-scale environmental works, it brought new perspective to a familiar landscape, and encouraged a refreshed appreciation of the natural world. The bold color of the fabric popped against the bright sky, the muted blue mountains in the distance, and the greenery covering the nearby hills. Few viewers could see it live in its short, 28-hour existence, which added to the work's sense of fragility, vulnerability, and urgency, while also stimulating an awareness of the emptiness that accompanied its eventual dismantling. The work was documented extensively in photographs: ultimately, the most prolific medium of earthworks, these types of works which are purposely subjected to environmental change, impermanence, and decay.

The Umbrellas (1984-91)

https://en.wikipedia.org/wiki/The_Umbrellas_(Christo_and_Jeanne-Claude)

This piece took place simultaneously in two different rural locations, one in Japan outside the city of Tokyo, and the other in California north of Los Angeles. The umbrellas were assembled in California and composed of fabric, aluminum, steel, wooden supports, bags, and molded base covers. Each umbrella was 19 feet high and 28 feet wide. 1,340 blue umbrellas were installed in Japan, a color chosen to evoke the rich vegetation and water resources of the area, and 1,760 yellow umbrellas were placed in California, reflecting the golden grass that covers the nearby grazing hills. In Japan, the umbrellas were placed closer together following the geometry of the rice fields, and they were spread further out in California, where vast expanses of agricultural land dominate much of the Central Valley. The usage of umbrellas in each location symbolizes the similarities, and the differences associated with the ways of life and the land usage in each area. They represented the varied availability and character of the land, and the temporary cycles of cultivation wrought by human industry. After years of preparation and planning, environmental studies, wind tests, and negotiations, the first steel bases went down December 1990. The exhibit was finally unveiled on October 9, 1991, and received about 3 million visitors. It became a huge tourist attraction and a popular site for picnics and weddings. The work quickly turned controversial, however, when one umbrella caught a strong wind and pinned a woman against a rock, ultimately killing her and injuring three others. The project was cited for removal and during the dismantling process, a Japanese worker was electrocuted when an umbrella he was holding hit an electrical wire. Some critics responded to these tragic accidents by taking umbrage with the egocentrism of Christo's spectacle-oriented, massively scaled visual productions, and subsequent projects became more difficult for the artists to find financial and governmental backing.

 Christo's early education in Soviet Socialist Realism, and his experience fleeing his home as a refugee of political revolution, informed his career's many forays into real-world politics as a primary subject and source of his art making. His 35-year collaboration with the artist Jeanne-Claude, and the large-scale site-specific works they co-authored, stand out as his career's greatest achievements. Together, the duo created monumentally scaled sculptures and installations which often used the technique of draping or wrapping large portions of existent landscapes, buildings, and industrial objects with specially engineered fabric. Christo and Jeanne-Claude made works that stand out as some of the most grandiose, site-specific artworks ever. While they often insisted that the aesthetic properties of their art made up its primary value, reactions from audiences and critics worldwide have long recognized a broader commentary operating across their work, and themes ranging from environmental degradation, to the vexed history of the 20th century and the Cold War, to the perseverance of democratic and humanist ideals.

· Christo and Jeanne-Claude's interventions in the natural world and the built environment altered both the physical form and the visual experience of the sites, allowing viewers to perceive and understand the locations with a new appreciation of their formal, energetic, and volumetric qualities.

· The artists' choice to remain intermittently inside and outside the frameworks of legality lends much of their work a built-in aspect of dissent and resistance. It also expands upon and emboldens a long legacy of quasi-legality in art, where art exists in a realm somewhere between the "real" world and fantasy, and affords the art world with distinct privileges and restrictions.

· Christo and Jeanne-Claude often worked outside the gallery system, refusing to negotiate sales of drawings and commissions through an art dealer. In this respect, they took a definitive stance on the political and economic infrastructure of the global art market, and set a precedent for artists working outside the system who still cultivated an international level of success.

· Whereas Land Artists usually made a point of blurring the lines of distinction between the artwork itself and its natural setting and/or materials, Christo and Jeanne-Claude's art relied on developing a high contrast between the engineered, man-made elements and the site's organic characteristics. Their work therefore pushes the envelope of what makes up site-specific, large-scale installation art, and expands the genre discourse to incorporate controversial themes of industrialization, bureaucratization, and late capitalism.

[stupendoustrashmagazine]

Prelude

Tonight the act of naming fell through the floor.

We speak permeable solids inflected by light

Move indistinctly: palate of windshield 

Crosshatch hop-cross’d with Ovidian shift,

faux forest, treat’d with colors from closet

Plait plat in a plot to track flotillas down,

Hot air balloons up, celebrating distant

Prairie fair. Farmer’s burnoff coils tall

Ash columns, formations above turbines white.

Learn to kill that hunger for thunderhead drift. 

Can follow on foot synapse, taste confit,

Sketch figure, set type, code python on limb,

Design legend for—scratch the map, lost.

I want the aura to aural irrespective of sense

the quartet of styrofoam boats & balloons

of plastic bags forgiven along with conductor,

for it to catapult group out open window,

An aria, moved, moving, with others. The spleen 

Racket, melange dischord allowing 

harmony’s plural means of resolution.

Pipe seams bead’d with silver solder &

Dreams warp’d with passion’s endurance.

The trespass into yard with inflatable pool

where algal sideburns pastoralize 

a celebratory drowning ritual. 

Come back. Help me frame Matisse (guilty 

Strokes), rust the iron, damper temperment

Unclothed. Spill the hamper & sing it,

that magnolia 

We’ll stay long enough for faith in 

each other’s visions. For something beyond

earthly suffering. Sucked dry wax & cone. 

It is unfortunate, the dragonflies are

Purple & beautiful, abdomen metallic

terrae, nodes aggregate, curvature &

husk. Nearby: a field of lightning. The stroll

through it risked no electrocution. 

Cull’d from material body leads to matter again.

Association of associations.

Together, we’ll erase strip malls frosting away

In our chests, but we won’t be able to stop the ivy

From terraforming, maturing towards strangulation,

A form of survival. Walk a while into notional 

Forest, ash grey hit with newborn beetles,

No radar, cobalt blue tinted dark green.

Skykomish in Summer

In Goldbar Washington boys crossed 

river with driftwood staves feet

slick-step between slime & rock, 

underbelly of serpentine but liquefied,

algaal nets stretched between toes, 

Like scales without edge—stiffened

Cold after crossing were caverns 

shadows hold, shield from radiation,

& though they couldn’t admit this

touch was what they most wanted,

schizoid clouds temporary shelter

against frenetic sun, there in those

caverns the kids dove into pools

Spun in schools of spit & current 

Slippery grips grit on bank’s cove

tangle of nets, sunken conflagrations

Their bodies pressing against the wake   

a force there, a quiet endlessness

sound beckoning shape, the inky jar.

Repossession (1.)

Spring seeds fibrillate, sap drools.

Muddy lawns: aftermath of an approach.

Easter-green paint cracks, reveals cedar siding,

Disintegrates, falls to foundation’s edge close.

One could ask who lived here. Do most times

even though it’s’no secret. They lost it, left

We cut & to the porch fasten 2x4 handrails

(Suing a bank’s a better investment), step

Inside.Maple floorboards, worn-out testimony.

Each creak releases things outside in-

terpretation or language. Bathtub’s got

Concrete top pour’d but unfinish’d

punctured lining by PVC tubes like reeds

for lungs underwater, covered in mud.

The second story framing’s exposed, drywall 

crumbs caked, spackle pocks & joint compound

in gnarled clutches grab remains, fading.

Electrical wires in knots, pigtails,

Copper diminished in conduit. Empty

centers of things usually covered, then valued.

There is then the business of the yard

children’s toys—truck beds blue on body

red, bouquets of acrylic flowers, the 

eyeball amanita thrombosis, marbles 

½-cover’din mud.Dolls, ropes, figurines.

We clean out a carport barn, trash, 

automotive parts, motor oil, glass, aluminum.

Kinetic images sequence, make time elastic,

Revelations flaw; in sensorial beatitudes, a kind of wreckage,

Sight is a museum of things seen, they’re hostages:

Beneath the house, thousands of aluminum

Cans, vinegar, rat nests in an old tent,

Dust so fine it’s crystalline. We rake & bag for hours.

Outside, a doll hung from rhododendron

Its face torched, head cocked to the side, clothes

Missing, darling buds of May hooked at the armpit.

My boss talks about rural zoning laws

As we back out of the emptied house;

The wet half-acre prairie grass fenced-in & barbed

Waits for another debtor; we head again toward emptiness.

Repossession (2.)

In the truck. Behind us, trail-rattle

& typical thrash. My boss tells me

About the gem we’re about settle in.

It’s like wading through bodies, I think.

The metaphor breaks immediately. 

The driveway could be a fractured jaw—

I cut the grass with our Kubota mower.

The shed is fifteen feet away from the tracks

& an old sawmill spits nothing under sky.

Deadly nightshade drifts vascular across cedar

Siding, grey lead-based flakes fall in wet, cut weeds.

The red berries barrage, their Plathian pitch.

The mother-in-law’s a converted shed,

Its floor’s center sags, linoleum squares

Sepia-toned & checkerboard in easy encryption. 

I bleach & scrub the toilet, pour antifreeze in.

The makeshift porch’s missing walls on all sides:

Top hat Styrofoam insulation & DuPont

Foam curdled, cumulous, mustard & rust. I push open

The house’s door. Carpet bubbles carcinoma grey,

Whole sections swell a foot from level ground.

I taste urine & ammonium. Dust gets on our skin.

I grab my razor knife, “Rip in.” He laughs.

The carpet weighs twice what it should, I stack

Pieces on the lawn. The carpet pad has fused

In a foam matrix to subterranean linoleum.

I stab & lever it with a toothed roofing shovel.

D the cleaner & I stop. We just look at it.

Snowflakes, quite idiosyncratic, urea crystals, dust.

Maybe a year or so buildup from cats or dogs.

The bedroom the same. I laugh this time.

Tobacco stains headway, riverine drawings on walls.

Sappy window trim. Popcorn ceiling meteorologist:

Sheet of cottage cheese about to hail.

I go outside to sneak a cigarette near the tracks. 

We shovel the crystal uric acid into buckets.

Makes me think about molecular records.

An atomic record forever void its narrative. 

I pull up tack strip with a roofing shovel.

They’re like reeds, I think. We leave it

Mowed, gutted, clean. It’s quiet here near the tracks.

Sparrows. He starts the truck. Dust all over us.

We pass past things along with clouds.

We head to the dump. I unload. He reminds us

He hates dealing with the public.

Stamp

Over there in rotting field

Grows some storm with an eye

Toward an oak

One could say is trembling

But accounting for wind

Really it moves from force

& force alone while metastatic clouds 

Mid-west median June appraise

Landscape of prairie

& steel beams two-by-foured

In rows holding up a smattering,

Maybe just a platter of

Figurative three-tab shingles—

An economy of pigs, feed, birds, too:

It’s pulmonary, the bristles

Horizontally dance, thistles

In multiplication, an armory

Rucksacking its strength

Gripping seams & susceptible glue

Undone un-doing year

After year—from behind

One window of nondescription

A home chatters, clapboards flap,

Scratching like molars,

A singular flash gives rise

During descent—cast-iron

Frying each cornea clean—

Leaving in singular manner 

Carbonized stump, something

That doesn’t even look

For an original impulse

A root that once gripped

Mineral & dirt, an uneven pitch

Of earth left without

A stamp or reason for being.

[busbarmachine001]

What are the CNC bus bending machines?

The staff furnishings are special manipulation staff, craft staff, and maintenance staff of each CNC home processing machine. All staff must be happy to improve their business skills.

The machine has three processing units: shear, punching, and bending, which can be perforated, shear, and bending processing of the bus. By replacing the bending unit mold, special processing such as flattening, flowing flowers, voltage cable joints, buttons, etc. can also be achieved. What are the CNC bus bending machines?

Drawing the busbar machine unit of the use of the three units of the bus. The bus machine mainly includes three units, namely the bending unit (as shown below), the punching unit, and the shear unit. Each unit implements the punching and shear operations. The below of the above three units is introduced in detail below.

What are the CNC bus bending machines? As a result, the ground line itself must meet technical standards; the quality is reliable; the use of safety must be used. Technical requirements for ground lines. The SD332-89 "Technical Standards for Wolving Short-circuit Line" promulgated by the Ministry of Water Conservancy and Electricity has made comprehensive regulations on the technical requirements of the ground line. The quality and use of electrical, machinery, chemistry and fever are safe and reliable to staff. The selection of the section of the ground line should be determined according to the actual maximum short -circuit capacity of the power system. When the rated time on the ground wire nameplate is not equal to the actual short -circuit duration, the allowable current of the ground line should be converted.

Usually hydraulic oil can be checked by observation and testing. The characteristics of hydraulic oil will change after using 5000 to 20,000 hours, and will tend to solidify (thicker). Usually, when the color of 2000 hours or oil becomes brown and black, the oil should be changed in time.

The role of hydraulic punching machine: Separate hydraulic punching machine is suitable for L, H tablet copper, copper plate aluminum exhaust punching. The bottom is designed with a flat seat, and it is stable. Single -hole oil recovery, the mold is not damaged with high -carbon tungsten alloy steel. It is specially used in metal plates such as corner iron, flat iron, copper plates, etc., and is especially suitable for the operation of the power, construction and other industries in the wild construction site. What are the CNC bus bending machine?

He said, "my country will become the largest market for robots, but can our technology and manufacturing capabilities cope with this competition." "We must not only improve the level of robots in my country, but also occupy the market as much as possible."

[guguodong-blog]

I. main structure

This machine mainly by the pot body, the Fried blue, the discharge lifting system, the heating system, the vacuum circulation filtration system, the electric control box and so on several parts.

1, the pot body: the pot body is the core of the machine, there is a frying basket, the working medium for cooking oil.The structure of the pot body is round, the whole structure can avoid being deformed by heat, and there is no heat convection dead Angle. It is easy to clean. It is made of food grade stainless steel.High temperature aluminum silicate fiber thermal insulation material, thermal insulation effect is good, reduce the loss of energy, for users to save production costs.The bottom of the pot body is provided with an oil discharge valve, which is connected to the external vacuum circulation system.

2. Frame: food-grade stainless steel square tube is used for welding, and wire drawing board is used for decorative board, which is beautiful and generous.

3. Electric control box: it adopts the domestic famous brand product -- zhengtai, full automatic temperature control, leakage and power failure functions.Electrical parts reliable performance, quality and safety assured.

4. Stirring system: it adopts revolution and rotation synchronous stirring to ensure the uniformity of food frying.

5. Lifting system: push-button discharging system can reduce labor intensity and improve work efficiency.

6, vacuum circulation filtration system: shandong shunzhi company research and development, patent products, to clean up the edible oil residue at any time, ensure that the edible oil does not turn black, prolong the service life, improve product quality, reduce production costs.

[s3mag]

SEMA is a hard show at which to properly appreciate cars. On one hand – it’s a show overflowing with some of the best builds you will see all year. On the other hand – it’s that same overflow that makes it almost impossible to keep your wits about you. It’s almost too much of a good thing. In a sea of thousands of cars, I feel like some inevitably get lost. The great thing is: The cars that are truly memorable, the cars you are talking about weeks and months after the show… are cars which rise above the temporary flash-in-the-pan Instagram fame. Some cars deserve to be immortalized. More than digital noise or passing fancy, they draw their inspiration from the timeless. The classic. 

  This 240Z certainly qualifies as one of these cars. While it has some innovations and forward thinking design elements, it also honors the tradition and legacy of Datsun’s Z car heritage. Car owner Dennis wanted a Z that could be as menacing on the street as it was on the track. In looking to manifest his dreams into reality, he was fortunate enough to meet aspiring builder Kyle Kuhnhausen. Kyle is a fresh out of business school automotive entrepreneur with a penchant for metal work. Ok, more than a penchant… he has a gift.  From the paint scheme to the heavily gusseted cage, this car is well thought out & beautifully executed. How well executed? Well, when we talked he made sure I knew that the LS swap was a place holder engine until they built something truly epic for under the hood. WOW. Some place holder. 

Let’s take a moment and revel in my three favorite aspects of this car. 

  First) 

There is the paint scheme. Nimbus Grey (or battle ship grey in some parlance) has to be my personal favorite hue on show cars. It’s rich, it allows shadows to adopt a deep dark over tone, and light reflections to be silvery & pronounced. Every truly beautiful design looks amazing in this color. So… win number one? CHECK! The Peter Brock homage striping is as evocative and respectful of the Z’s motorsport heritage as it is a tasteful modern touch of racer bravado. I dig it. Those famous side stripes actually start on the hood at the vents and then cascade over the fender and down the side forming the Brock stripes we are all familiar with. A killer design cue that is at once forward thinking and period correct. Nicely done. 

Second) 

Let’s talk about that metal work. The Aero is mean, functional, and gives the car a seriously provocative stance. What’s more – it’s designed to just rip/break away cleanly in the case of a momentary lapse in driver skill (for example paying a visit to say, China Beach at the end of the straight at Mid Ohio). Well played Kyle, well played. However, as fantastic as that aero is, it is nothing compared to the beautifully executed roll cage. Meant to be a street car that can participate is serious track time… it had to be a car from which Dennis could easily get in and out. Kyle kept the safety high by fabricating one seriously artful, yet stout, fully gusseted integrated cage. Take a few moments and look at the cage in this car. I have severe race car envy. My race car has race car envy. Seriously. It is so good that it easily merits adjectives like superlative, excellent, exemplary. Bravo. 

Third) 

And this is one where so many cars sort of take a pass… the gauge cluster. When a car has track day toy duties, it’s easy to just pick up a digital display, mount it up, and just call it done. Not in this car. The cluster in this car is 13 individual pieces of aluminum lovingly hand shaped into what you see before you. It honestly called to mind some of the extreme and bespoke modern interpretations currently en vogue built around the Porsche 911. The Singer cars being the most notable, they take an air cooled 911 and massage every aspect of the car… and polish, preen, & refine it until it is absolutely jewel-like. The perfect 911. Well, that’s where this Z took me. It’s like a really nice 240Z… only polished to the highest possible degree. Everywhere you look there are tasteful touches. This instrument cluster exemplifies that. The angle at which it is canted toward the driver, the alignment of it inside the MOMO wheel. It’s absolutely glorious. 

So yeah, this car is one of the highlights of last year’s SEMA show. It truly was. Bespoke modern takes on past classics are hot right now. Cars like the Singer 911s are fetching 500k and more per unit, so it makes builds like this kind of a serious proposition. Get it right and the value and classic status is legitimate. In the end, Dennis can drive this car on the road or the track, confident in the fact that he found the perfect enthusiast to execute his vision. And he can rest well in the fact that he’s now driving the Singer of Datsun 240Zs.

InZanity 240Z

CHASSIS

1972 Datsun 240z shell

10-point fully tig welded roll cage featuring flared hole body tie-in gussets 

Lower jacking & towing points welded to bottom of main cage shelfs 

Every unibody seam is fully stitch-welded inside & out, and seam sealed

All top strut mounts replaced with camber adjustable heavy duty plates

Pre-load adjustable tie-rod strut braces featured in engine bay

Tig welded fuel cell cradle with integrated rear center mount tow hook

Rear sub-mounted battery with remote charging points and kill switch

Custom tig welded engine & transmission mounts. Optimized center of gravity

50/50 weight distribution

Bolt-in aluminum transmission tunnel stiffeners / driveshaft hoops

Integrated scraping points for oil pan protection

BODY MODS

Trackspec Motorsports heat extracting louvers on hood & front fenders

Front fender-exit side exhaust with custom alloy diffusing louvers

Rear rockers clearanced for functional rear brake vents, and lowered 1.25”

Fender & rear emblems shaved

Antenna & side marker lamps shaved

CNC billet aluminum laser engraved KMC tail lamp insets

CNC billet aluminum quarter panel vent emblems featuring modernized “Z”

Rear bumper & mounts shaved

Symmetrical rear body pan recess, opposed to unsymmetrical stock recess

Front bumper shaved & swissed with dimple die punched holes

Reinforced rear hatch for functional spoiler mounts

Rear quarter panel turbulent air extraction holes with alloy bezels added

Wide “ZG” style flares, adding 6” of width to the rear fender wells

All body gaps cut, welded, and staked. 

Shaved hood springs & streamlined hinges

Show grade bodywork 

One-piece front & rear windscreen gaskets

POWER 

GM 2004 LS1 engine with T56 6-speed manual transmission

Modified & ported 1.625” primary headers ceramic coated in gold

Bespoke 2.5” Fully pie-cut and tig welded exhaust with front X-pipe (167 weld joints)

Dual 8” sectioned Magnaflow Corvette style mufflers mounted in front wheel wells

Improved Racing 180 degree oil cooler thermostat with 400hp Setrab cooler

Holley Coil on Cover valve covers

Radium Engineering FCST fuel cell surge tank and full fuel system

Vibrant Performance –AN fuel lines 

Modified stock throttle body with Lokar stainless throttle cable

Custom 4” aluminum air intake with K&N filter outside engine bay 

Aluminum crossflow radiator with 16” Flex-A-Lite electric fan and custom shroud

Modified Hurst short shifter with KMC integrated transmission fluid top-fill

Centerforce single disc clutch

ACT Clutch Prolite lightweight flywheel

Custom one-piece driveshaft

Infinity Q45 R200 differential with VLSD limited slip unit and 3:54 final drive ratio

Nissan Armada CV axles

BRAKES

6-piston Wilwood front calipers & 4-piston Wilwood rear calipers

Fully functional ram-air 3” brake ducting to all 4 corners with custom caliper hats

ASD Motorsports hydraulic 16” e-brake system with braided -3an lines

Wilwood billet master cylinder with modified vacuum booster assembly

Optimized pedal box with reduced weight and improved pedal placement

3/16” Stainless hardlines and -3an braided flex lines

Wilwood proportioning valve with hidden custom mount

Remote Wilwood proportionating valve in-cabin adjustment knob custom retrofit

Custom aluminum master cylinder heat shield

SUSPENSION

Full Arizona Z-Car “Track Pack” billet aluminum adjustable suspension

Arizona Z-Car struts with coilover adjustable springs, modified for tire clearance

Apex Engineered bump steer adjustment kit and high steer knuckles.

Full polyurethane bushings

Modified front crossmember for improved roll center

ST Suspension front & rear sway bars with Energy Suspension polyurethane bushings

5 Lug converted hubs with front Wilwood spindles

ARP chromoly extended wheel studs

Stitch welded and reinforced front crossmember

  AERO

Custom HDPE adjustable front air splitter with alloy radiator and brake dams 

Custom HDPE adjustable rear diffuser with jacking point & air straighteners

Custom HDPE 6” side splitters with exhaust vent & rear brake vents integrated

Aluminum tunnel underbelly, mostly flat under entire car

Pitch adjustable 3-piece rear deck spoiler with Ringbrother’s micro hinges

ARP carbon fiber micro mirrors

Lexan headlamp aerodynamic fillers

4 Piece aluminum radiator ducting with cabin air ducts integrated

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ELECTRONICS

Street and Performance engine wiring harness with reflashed stock ECU

Braille lightweight I25X lithium battery

Bowler Performance phantom key with Honda s2000 push button starter

Fully custom KMC chassis wiring harness

Fully integrated Passport 9500ci radar detector system

Alpine double-din 6” monitor with frenched backup camera, navigation, and satellite radio

Dakota Digital VHX-1100 competition dash with 16 digital readouts

Dakota Digital BIM 1 OBDII gauge interface

EPAS electronic power steering integrated into Woodward steering column with input potentiometer knob on dash

Custom carbon aircraft-style switch panel with u-shaped toggle protectors

Quick Latch removable main electronics panel featuring Marine resettable circuit breakers

  WHEELS / TIRES

18” CCW 3-piece LM20 wheels with gloss black lips, satin black centers, and ARP bolts (18×10 front 18×11 rear)

BFGoodrich Rival S 200tw extreme performance tires (275/35zr18 front 315/30zr18 rear)

Gorilla extended race lug nuts

INTERIOR

MOMO Super Cup FIA homologated seats and alloy brackets

MOMO 350mm MOD. 07 suede steering wheel

MOMO 6pt. harnesses

MOMO quick release hub w/ bespoke manually machined adapter to race column 

Highly modified pedal box

Longacre 17” wide rear view mirror

Bowler performance billet shift knob and lever

Aluminum bead-rolled hexagonal pattern fuel cell fire wall

Custom alloy center console, and 3-piece alloy bespoke quick removable dash 

Smoothed transmission tunnel

Bespoke flared-hole heel plates

Flared-hole fabricated dead pedal and geometry optimized clutch and brake pedals

Custom heater with 4 vents hidden under removable dash

Hexagonally stitched suede door cards with carbon fiber aircraft riveted inserts

  PAINT (All Axalta Refinishes Products)

Chromax Mosaic SBBC B9*01 – Color: Ford Stealth Grey

Imron 3.5 HG+ Polyurethane RH-3714 – Color: Gray 057

LF Epoxy DTM Primer Gray 2540S

Chroma Base “4 to 1” 2K Urethane Primer Filler Gray 7704S

Chroma Priemier Premium Appearance Clearcoat 72500S

Epoxy DTM Activator Medium Temp 2505S

Basemaker Medium Temperature 7175S

Activator-Reducer 60-70 Degree 7765S

Plas-Stick Flexible Additive 2350S

Chroma Premier Pro Normal Activator 14305S

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OTHER

Rear sub-mounted SPA Technique fire suppression tank with 6 nozzles in cabin/engine

2-piece removable front chassis-mount tow hook

Proprietary differential snout oiling system with Tilton commercial pump and Setrab cooler

Functional side hood winglet to integrated tig welded alloy coolant expansion tank

Dual “II Much fabrication” differential and fuel system vents with custom bracketry and aluminum hard lines.

Extensive use of ARP 12 Pt. stainless fasteners

  Text by Tim Neely   Photos by Dominick Barbero

InZane in the Membrane: Datsun 240Z SEMA is a hard show at which to properly appreciate cars. On one hand - it’s a show overflowing with some of the best builds you will see all year.

[momokoyolove-blog]

How to make welding fixture and metal molds

https://www.hotformed.com

1. Fixture design

1.1 The definition of fixture

Generally speaking, fixture can be any auxiliary device which can make scientific molding process more quick, convenient and safer during the die manufacturing. Broadly speaking, fixtures include machine fixture, press fixture, heat treatment fixture, welding fixture, assembling fixture and so on. In a narrow sense, it is machine fixture. And it’s mainly used during the machine dies processing. At present, the general definition is that fixture is a device tool used for clamping die parts. And another definition is that he fixture or jig is a kit used for clamping the casting part and guiding the tool.

1.2 Types of dies fixture

There are two main types of die fixture, tooling fixture and testing fixture. Metal casting manufacturers mainly use tooling fixture to satisfy their requirement of casting manufacturing process convenience and high level of precision. In a word, the tooling fixture should help to make die making process of metal punch machine work, welding and assembly be easy.

And die set manufacturers always use testing fixture for testing. Because there are many examples of die casting products which shapes are complex and dimensions are difficult to measure. In this case, we have to make the die design of special detection block. Or we design the testing fixture for particular metal casting products of detection use.

For example, punch press dies suppliers have some regular testing fixtures for metal dies, such as plug gauge, ring gauge and so on. However, there are also many irregular machine dies, for which punches and dies engineering people have to make special forming die design. What’s more, we press die manufacturer may use some machine metal casting methods to ensure the precision of the testing fixture. Such as wire cutting, spark-erosion machining, CNC machining center and so on.

2. Principles for fixture design

2.1 Fixture usage

In some special metal casting process scenes, we need to make fixtures to facilitate and serve our die production. There are these main using scenes.

2.1.1 Using fixtures to fix products and tools

Die set manufacturers always fix die casting products and tools with fixed vise and clamps. It can release a hand of operators with metal casting techniques, and then they can work with both of their two hands.

2.1.2 Using special tools

Tooling we use on the die production line should be best fit for this forming die and special tools for manual operation. And the aim of this operation is to increase the die production efficiency.

2.1.3 Merging the two different types of dies tools into one

As die casting parts manufacturers all know, this operation can reduce the trouble of changing metal casting tools and the labor hour consumption for transfer. Therefore, it can significantly increase the working efficiency of die casting parts manufacturers. One featured application is a pencil with an eraser on the top.

2.1.4 Improving die casting tooling design convenience

Firstly, punch press dies suppliers design the die casting tooling handle to make it easy to grasp. Secondly, the operating die casting tools are in harmony with human movements. Thirdly, punch dies suppliers should evaluate the fixture with IE method.

2.1.5 Operation process

Firstly, as large steel castings manufacturers all know, the operating position should be close and focused. Secondly, we should try to make the die making machine minimize or even disengage human’s monitoring and assistance. Thirdly, punch and die manufacturers need to take the switch position and the next process into account. The start switch position of the die press machine and the operation of the next mold casting process should be coherently coordinated in the action.

Fourthly, it’s about the auto uncaging of parts of die. We try our best to make the finished die cut parts automatically fall off by means of gravity or springing.Last but not least, we use self-checking automation system, and put safe first.

2.2 Design principles

There are different fixture design principles for different conditions.

2.2.1 Measuring and auxiliary positioning fixture design

A.Make the shape of fixture be simple and die making process be convenient. B.It’s easy to pick and place die casting products. C.Ensure the position of the fixture and metal casting products to be accurate. D.Learn the measurement key point and measurement methods of metal molds. E.In general, the material used in dies fixture measurement is aluminum alloy. And when the precision requirement is higher, press die manufacturer uses steel mold.

2.2.2 Position fixture design

As for assembly positioning fixture, die manufacturers should protect it by teflon tape. And reserving 0.2-0.3mm position on one side to avoid scratches of die casting products.

The metal die position should be accurate, and not be too loose. The standard is to make the pick and place of metal punch dies be easy. Die casting manufacturers reserve about 0.1-0.2mm gap on one side when they put protective film and locate the fixture. If the dimension of press dies is small, we can consider to reduce the gap within 0.1mm.

With regard to gloss positioning fixture, die casting supplier reserves about 0.2mm. And the standard is also to make the pick and place of metal punch dies be easy. If it’s gloss machine fixture, the reservation gap should be about 0.1mm. Certainly, the aim is to avoid the drop of forming die in the wipe process because it is too loose.

With respect to printing and laser carving tools, metal stamping die manufacturers reserve 0.05-0.1mm gap. The support surface at the printing position and the positioning of the laser engraving fixture needs to be precise.

2.2.3 Coating fixture design

Punch and die manufacturer should know the spray printing range of mold die and the paint types. It should be easy to pick and place of thermoformed products on the fixture.

When the precision requirement of mold coating products is pretty high, the die mould manufacturer need to adjust the tolerance on fixture design. Die set manufacturers need to think about the lacquer flying area and painting accumulation problem. What’s more, there are die making process problems of gas pattern, solvent evaporation marks, sawtooth and so on.

Pay attention to the coating method during metal moulding process. For example, rotary machine, reciprocating machine, hand painting, water electroplating, vacuum plating and so on.

3. Common thermoforming material used for fixtures

3.1 Rolled Steel

There are many different types of hot rolled steel, and the applications of rolled steel products are diverse. According to the different shape of cross section, the steel can be divided into four main types. Steel rolled sections, hot rolled steel plate, hot rolled steel tube and rolled metal products. The rolled steel is made from ingots and billets by pressure casting. It can be different shapes, dimensions and casting properties.

3.1.1 45# steel

Chemical components of 45# steel includes these. The carbon content is 0.42-0.50%, the silicone content is 0.17-0.37% and the manganese content is 0.50-0.80%. What’s more, the chrome content is within 0.25%, the nickel content is within 0.30#, and the copper content is within 0.25%. Also, the density of hot rolled steel 45# is about 7.85g/cm3,, and its hardness is about 45-52HRC. In addition, according to the different shape, we divide the roll formed steel 45# into hot rolled steel sheet, rolled steel tube, and hot rolled steel bar.

3.1.2 SKD11

SKD11 is a kind of hot rolled alloy steel with high content of carbon and chrome. And it has a high hardness and good wear resistance. What’s more, this hot rolled steel properties include strong hardenability and good dimension stability. Therefore, it’s suitable for making cold steel die with high precision and long lifetime, and mold die of thermosetting plastic products.

Properties of hot rolled steel SKD11 are as follows. Firstly, it has good toughness and high temperature fatigue resistance. Secondly, this rolling steel can withstand temperature fusion, ands is suitable for long-term work at high temperatures. Thirdly, it has good cutting performance and polishing performance.

What’s more, the application of hot steel SKD11 is diverse. For example, cutting die, stamping die, thread rolling die, wear-resistant sliding block mould, thermosetting resin forming die, and so on. The hardness of them can be 56-58 HRC. What we commonly see are sheet metal die and metal bar mold.

3.1.3 D2

D2 rolling steel is a kind of high wear resistant cold rolled steel and tool steel with micro deformation. The carbon content is up to 1.5%, and the chrome content is up to 11.5%. After the hot finishing process, its hardness can be up to 60HRC. Its application includes metal stamping die, drawing die, stainless steel die, reeling die, metal parts production, machinery manufacturing and so on.

3.1.4 Other rolled steel

Besides for the above steel, the common hot steel we usually use to make fixture and compound die are CR12, tungsten steel, stainless steel, spring steels, SPCC、SUS、SK7、SK5 and so on.

3.2 PF

PF is the acronym of phenolic resin. In general, it has several colors including orange, black, yellow and brown. PF is an insulation switch and variable resistor for electronic products, a mold die for machinery, and a fixture on a production line. Because it has properties of insulation, static electricity, wear resistance and high temperature resistance. What’s more, the PF can be used in transformer oil. The common thickness of PF is 3-50mm, and its common shape is plate.

3.3 PE

PE plate is also known as high density polyethylene. It’s a kind of non-polar thermoplastic resin with high crystallinity. And the PE sheet is translucent to a certain degree in the thin section. As for properties, it has excellent resistance to most of the life and industrial chemicals. Firstly, the polymer is non-hygroscopic and has good vapor resistance. Therefore, it can be used for packaging applications. Secondly, it has good chemical stability, and can resist the erosion of most acids, alkalis, organic solutions and hot water. Thirdly, it also has good electrical insulation. Commonly, they are white or black, and their main shape are sheet and bar.

3.4 Acrylic

Acrylic is a kind of chemical material, which chemical name is PMMA and belongs to propylene alcohol. In the application industry, acrylic raw materials generally appear in the form of particles, plates, pipes, etc. Acrylic, also known as special treatment of organic glass, is a special generation of organic glass products. Its common colors are transparent and white, the thickness ranges from 1mm to 50mm, and its average hardness is 89 HRC. In addition to acrylic, common plastic materials we usually use to produce fixtures are ABS plastic, PS, PP plastic and so on.

4. Common fabricating machinery

Xu Zhuo Industrial Co., Ltd. is a professional fixture manufacturer. As early as 2010, it has a variety of fixture production equipment. Including ordinary lathes, numerical control lathes, milling machine, CNC, grinding machine, drilling machine, discharge machine, wire cutting machine and so on. We not only produce fixture and mould die for our plastic parts and silicone products, but also sale them to many famous clients. And we have advanced and practical model room. Therefore, our mould and fixture enjoy a high reputation in Dongguan, China.

[duysuyyyy]

How to Start a Clay Sculpting?

The clay sculpture is a fantastic technique to spark your imagination. It can be challenging to know where to start if you're new to the medium and want to learn how to produce sculptures at home. The following information on clay sculptures for beginners will help you get started, from choosing the correct clay to enhancing skills.

What Clay You Should Choose?

You must choose the right clay before you begin your clay sculpture. The handling and finish of the various types of clay used for sculpture vary:

Oil-based modeling clay is a non-toxic, hard, and durable material that can be used to create anything from small figurines to large sculptures. It has many advantages for children, including being non-toxic and durable. However, it does not dry out like other modeling clay and can be difficult to shape.

Polymer-based modeling clay that is equally soft can be heated to set a composition. However, it is susceptible to cracking.

Water-based clay has many advantages and disadvantages. One of the biggest advantages is that it is environmentally friendly. It does not release any harmful chemicals into the environment when it is used to make products. Another advantage of water-based clay is that it is biodegradable, which means that if you make a mistake while sculpting and have to break the sculpture, you can just throw it in the ground and let nature take care of it. Some disadvantages are that water-based clay cannot be fired in a kiln or oven like traditional clay, so you have to use another material for this process.

For beginners learning to sculpt at home, the water-based clay is ideal out of the three options listed. Although it is frequently formed on a potter's wheel, it is by far the simplest material to work with when employing hand-building techniques to produce shapes and forms.

How to Make Your Clay Sculpting?

Now that you've figured out your water-based clay, it's time to get creative. You can learn how to produce clay sculptures using these five practical hints, from the very first idea to how to get better.

Get An Outline

The sculptor should always have a mental image of the piece before starting to work in clay. This is because it is easier to judge the proportions and shape of the sculpture when it has not been finalized.

When sketching, it is important to draw from different angles and perspectives so that the final sculpture will look natural.

Test the Wetness of Your Clay

Before you start sculpting clay, however, you’ll need to check if it’s wet enough as dried clay is difficult to work with.

The best way to make sure that the clay is wet enough is by pressing your finger into it. If your finger leaves an imprint on the surface of the clay, then it’s not wet enough and needs more water.

Dried clay is difficult to work with, so if you want a successful result, make sure your clay is moist.

Avoid clay figures

How to create clay sculptures is a popular query from novices. You may have seen these made by more skilled sculptors with expanded legs. Most likely, these painters supported the weight of the clay with armatures, which are long, metal skeleton constructions.

Although heavier materials like brass rods, aluminum wire, and other materials can be utilized for this, it is frequently simpler to practice clay sculpting at home with smaller shapes. Once you've mastered this, you should think about expanding your skill set by learning how to use armatures.

Looking for professional help

While some artistic techniques can be picked up via practice and observation, more complex clay sculpture techniques can be challenging and require professional supervision. Watch for classes or nearby studios and register to learn more. This offers you the ability to experiment with burning your finished pieces for permanence and will ultimately help you become a better clay sculptor.

Are you interested in trying clay sculpting but unsure of where to begin? Our company offers the necessary clay tools you'll need to embark on a magnificent artistic adventure. Please feel free to contact us at +86 15958911665.

[shinygladiatorcat]

5083 aluminum plate introduction

5083 belongs to the Al-Mg alloy, which is widely used, especially the construction industry cannot do without this alloy. It is the most promising alloy. Good corrosion resistance, excellent weldability, good cold workability, and moderate strength. The main alloying element of 5083 is magnesium, which has good formability, corrosion resistance, weldability, and medium strength. Hardware products, electrical enclosures, etc.

5083 aluminum plate introduction:

AL-Mg alloy is the most widely used anti-rust aluminum. This alloy has high strength, especially fatigue resistance: high plasticity and corrosion resistance, cannot be strengthened by heat treatment, and has good plasticity during semi-cold work hardening. , Low plasticity during cold work hardening, good corrosion resistance, good weldability, poor machinability, and polishable. Mainly used for low-load parts that require high plasticity and good weldability, working in liquid or gas medium, such as fuel tanks, gasoline or lubricating oil conduits, various liquid containers and other small-load parts made by deep drawing: Wire is used to make rivets.

5083 aluminum plate application range:

5083 aluminum plate is often used in ships, ships, vehicle materials, automobile and aircraft plate welding parts, pressure vessels requiring strict fire protection, refrigeration equipment, TV towers, drilling equipment, transportation equipment, missile components, armor, etc.

WuXi SiYouTe Steel Co.,Ltd. started producing Aluminum products in 2011. Over 10 years later, it remains our only business, and we know it better than anyone. This singular focus and deep expertise have allowed us to provide consistently outstanding service while expanding our offerings and global reach. With cutting-edge equipment and the ability to service the globe with quick deliveries on rare items, we are a global company that stays true to its roots — commitment to quality and premium customer service.Come to our website to learn more.