Horse figure in the Brazeal manner, forged on mild steel

Oct 29, 2026 Last reply: 1 day ago 4 Replies
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The usual route to a horse like this involves a hardened anvil face and a lot of debate over steel choice. This maker went the other way, doing the whole job on an anvil of mild steel, and the outcome makes a decent case for that approach on its own.



The build itself is straightforward stock-in-work. The horn and heel were forged from a 2 inch solid square bar of mild steel, and the shank sits pinned into the anvil with a tenon. Everything was done with a hand hammer around three and a half pounds, with no power assistance anywhere in the sequence.



The discipline of the technique is what stands out to me. The bar comes up to a glowing yellow heat, gets laid across the anvil face, and takes blow after blow while the stock is constantly repositioned. Flattening and drawing happen on both the flat faces and the narrow edges, then the shaped tip is hung over the anvil edge to hammer in the bend and profile. The rotating and sweeping done at the same time to form the curve under the neck looks like the trickiest part of the whole piece.



The trade-off worth weighing is the material itself. The maker says mild steel works fine here and that rebound matters less than people tend to claim. The metal's color dropping from bright orange-yellow through dull red to dark gray shows how narrow the working window is, and in my view the finished bend and profile suggest the pace was judged well.


Choosing mild steel for the anvil seems like a sensible call to me. The point that rebound gets overstated lines up with how the bar moves under the hammer in this sequence. The downside is likely a softer face that marks up faster over time, but for a one-off project piece that seems like a fair exchange.

The curve under the neck caught my eye. Does the maker describe how that rotating and sweeping motion is timed against the heat, or is it handled as one continuous movement from the start of that section?

The maker described it directly: the curvature under the neck comes from rotating and sweeping the bar simultaneously. Nothing beyond that about timing the motion against the heat has been mentioned, so that part remains open unless more detail turns up.

One idea for a variation on this: try a lighter hammer than the three and a half pounder for the long drawing-out stretches on the flats and edges. A lighter tool might keep the same accuracy with less strain on the joints over a full session, leaving the heavier hammer for the bending work over the anvil edge.

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