Joel OF

Members
  • Content count

    991
  • Joined

  • Last visited

About Joel OF

  • Rank
    Senior Member

Profile Information

  • Gender
    Male
  • Location
    Kent, England
  • Interests
    Basic and bold designs. Music and drumming. Films.

Recent Profile Visitors

7,061 profile views
  1. Hi folks, I've attached an old picture of one side of my workshop to help explain. Please ignore the positions of items as everything has moved since taking the picture, except the coke forge which is still in the same position. I want to install a wood burning stove for taking off the chill in the air when the forge isn't lit. I would like to position the stove close to the forge, pretty much where the gas forge is in this picture. To save cutting another hole in my tin roof I'd like to branch the stove flue into the forge flue. My forge flue is single wall 1mm spiral ducting that's 12" diameter. I don't know exact measurements off the top of my head but there's about 6 feet of flue inside the workshop before it goes through the roof, and about the same again outside which takes it a couple feet above the peak of the roof. Assuming that I can use spiral ducting again for the wood stove, can anyone tell me if there's rules of thumb that I should be following? I.e is there a flue diameter which will work best going into the 12" forge flue? Is there an ideal height the two should connect? Is there an idea angle the two should connect at? 45 degree bends are readily available. I remember when I was doing my reading into forge flue heights a few years ago that there was a lot of science in it that went completely over my head, so I thought I'd better ask about this before I go cutting holes & accidentally create some thermo dynamic chaos and ruin the draw of both the forge and wood stove. Cheers for any pointers.
  2. Having made a few animal sculptures myself from fresh mild steel, in my mind there's no doubt he has huge volumes of talent to visualize & transform scrap into anatomically acurrate sculptures, but I think that snippet condenses down his story to a fairytale scenario. I'm dubious that without a bit of a (previously earned?) financial support anyone could afford to sit around & wait for the right combination of scrap components to come along to make a lifesize horse, or just buy a display shop and afford the time to fill it with stock items you've somehow found the time to make specutively without any prosoect of a sale or money to keep you going whilst you're making. Whatever his financial scenario, he's very talented.
  3. Magnetic base LEDs

    I aim to take it back up some day but reasons include; disintergration of band, cost, time, I live in a flat block in a city centre so can't have drums at home, sold them to buy a bandsaw. Hopefully when I move out of town I'll get a space for a small set. Now you've got me missing my Zildjian A Custom 14" hi-hats and K Custom 18" Dark China. And my DW 9000 double pedals come to think of it. Never be able to afford that lot again.
  4. Magnetic base LEDs

    You've reminded me that since quitting drumming & taking up metalwork I've realized there's so many cymbal stand clamps & accessoroes that would be usesul in the workshop. A cymbal boom arm could be pretty useful at holding items at awkward levels for welding with small adaptations.
  5. Magnetic base LEDs

    No not really. The magnets are amazingly strong & if the bolts loosen that fix the tilt angle you could always use Nyloc nuts.
  6. Magnetic base LEDs

    This is so obvious it may not even warrant being called a tip. It seems on a par with "if you're cold, put a jumper on". In any case...a 5W LED on a magnetic base stuck to the side of your power hammer can help from time to time.
  7. Craft fair

    I'll post any that I find that I feel comfortable with. The walls have eyes and some of my bread and butter items earn me so much money because of their simplicity and for the fact that no one else has thought of them that I don't want to post the wrong picture and watch my unique idea become old hat on Etsy.
  8. gates

    My original post was in part prompted by a situation I find myself in where some public work I've designed is being fought by vindictive objectors wantng to use every ounce of beaurocratic rules to their advantage. Happily there's plenty of situations and clients who'll just say "yep we'll ignore that rule" and some work just somehow skirts under the radar of the quite strict Building Regulations we have, you seem to have to been quite lucky to not come in to contact with. Learning and appreciating old ironwork isn't exactly something that washes over my head. I do live in a medieval city, have done work for churches that are hundreds of years old, have an architect Father that specializes in conservation of listed and historic buildings, have clients that properties that are hundreds of years old ....etc etc etc Appreciation is something that seeps in daily and is continually relevant. To be honest I'm not really going to make too much of an effort to justify myself and don't really care if anyone mistakingly thinks I'm ignorant, it's just far too a complicated and nuanced conversation for an inter-continental forum when you're factoring in the rules of BS 6180, Building Regs Doc K and the design aestheiic of early 20th century Viennese art nouveau.
  9. Craft fair

    Sanded clean blocks of oak on top of hessian is how I usually display my work at fairs. I arrange the blocks into staggered heights so my display is visually interesting & make each block into a plinth for multiples of one product. They're also useful for screwing work to, e.g hooks. A long sheet of hessian will hide extra stock under your table. Black price tags with silver pen shows up nicely & looks classy. I usually pin them to the blocks of oak with wooden headed pins as opposed to brass or silver ones. I always cut off / hide as much tag string as possible as it looks naff.
  10. Orphaned blacksmithing videos

    I think I've watched this video 30+ times. For the sake of non Brits, "arf" means "half", it's not a type of welding!
  11. gates

    For public work at all levels and private work above certain heights there's a very tedious max 100mm spacing guidance "rule" that you're best off not ignoring. There's plenty of discussion about it on the UK Mig Welding Forum if you want to know more and lose some brain cells :-)
  12. gates

    Thanks for the input folks. I have made a few gates, both doubles and singles, so my question isn't really based around "how do I know what will work?", it's just curiosity of what spacings others typically use. Sometimes studying old examples is more interesting than useful. Modern beaurocratic rules determining bar spacings (so kids don't get stuck between them) can make looking at old ironwork for guidance almost irrelevant. Local council "computer says no" to lots of old designs.
  13. gates

    Cheers for the thoughts.
  14. I recently made some double ended Sofa Survival Tools that were a bottle opener on one end and a back scratcher at the other. That accompanied by a copy of Die Hard on DVD would make an excellent gift package.
  15. gates

    Obviously size and proportions are a big factor but when you're making gates have you got any general rules of thumb you like to work to regarding: 1) The distance between the back stile and the hanging post. 2) In pairs of gates, the distance between the two leaves when they're shut I'm thinking more for aesthetics than mechanics here. Cheers