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  2. Lose internet for a few days and you are off in another direction making a bunch of little boats and trying to hang them like Christmas lights! I always thought of passenger ships as a bunch of portholes held together with thin strips of metal but I think your number of railings out number the portholes by a considerable measure!
  3. I did not notice something until now, but the curve of my bulkheads do not seem symmetrical resulting in the starboard side of the boat being steeper from keel to the shear than on the port side. It is slight but I see it on the boat. The photograph below shows just one of the laser cutout scraps. I saved all the scrap sheets and everyone seems to show this non-symmetrical behavior. Sigh! 😔 Can anyone else see this or is it my imagination?
  4. Quite a few from Missouri here. And also some us who used to live there. My self included (past tense, I'm in Oregon now). Cathead (building a riverboat currently) is in the southern part of the state.
  5. Just stumbled across this website - https://gcaptain.com/****-school-ships-uk/ - fascinating stuff. Steven
  6. Dave, The wipe on poly may be a problem. So might the ME paints. First off the Ms paints are reported to be "thick". The other problem is the poly. I suggest before you start buying anything, take a piece of scrap, apply poly as you did on the model and then try the paint on it.
  7. Ladder belowdecks. I had to do this three times. The first was terrible - crooked, too narrow (it scaled about 30cm = 12" wide) and with the treads at all kinds of different angles, and looked like they were too close together. The next was better; wide enough, treads all in alignment, and not crooked. But the stringers were too thin - the slots for the treads made them likely to break off. And on checking against a full size ladder I realised the treads were too far apart (in scale) to be used by any sort of normal sized human. So, onto version 3. The ladder is the same width, length and angle, and all the treads nicely in alignment. Stringers thicker to allow for the slots for the treads, and enough treads so you wouldn't have to strain yourself reaching from one to another. Turns out the first ladder had the right number after all . . . I think my precision has improved. But I need to get into the habit of taking enough care the first time. If at first you don't succeed, use a bigger hammer? Steven
  8. Today
  9. Actually, as the hull of a working boat it looks the part, you could do without planking it. I remember Yves writing so. You merely need to get the beat up colour on it. Well done on those planks
  10. I've been off doing other things for a while. It's nice to get back to what my family call "boating" (to go along with my workshop which they call "the boat room"). I've made a cover for the hatch. I've kept the planking format I've been using for the deck, to allow air to get below decks so the oarsmen don't all collapse. It's not the same as the "criss-cross" halving joint method you see on the hatches of later ships - I have no evidence at all how such a hatch cover was constructed for a dromon (it's only an assumption it had one at all, otherwise how do you get cargo below). So it's planks with gaps between them, and cross-beams at intervals to support the planks so they don't deform or collapse when someone stands on them. Here's the frame for the hatch itself: And here is the frame for the hatch cover. (The other two bits of wood are for the ladder down to the lower deck.) Took quite a lot of mucking around till it fitted smoothly. Planking at each end. Intermediate planks Cross-beams Cover in place And lying on the deck with the hatch open. I'm just wondering whether I should also do a "border" around the top of the cover; does it look better with these battens around the perimeter? (they're just loose at the moment) Or should I leave it without them as in the pictures above? I'm just a bit concerned that without the perimeter battens it looks a bit too much like the duckboards you get in a sauna. Any suggestions welcome. Steven
  11. Hi folks I was adding some more bits and pieces last night; most of which are too small to mention. I still thought I’d post these photos, just for the hell of it. Have a great weekend. Cheers Patrick
  12. Very nice work. White lettering is always a problem, speaking as a (mostly) reformed model railroader. From the launch photo at the top of your build log, the depth markings are about 12" high and the name lettering about twice that, or about 1/8" and 1/4" characters on the model. In my experience the alternatives are dry transfers and waterslide decals. "Woodland Scenics Dry Transfer Decals Gothic Numbers White" and "Woodland Scenics Dry Transfer Decals Gothic Letters White" include the characters you need, although you may find the weight of the lines, particularly in the letters, a little heavy compared to the photograph. The problem with dry transfers is alignment when applying them, as they have to be burnished on one by one. But it can be done, sometimes with some scraping off of what was just put on. Dry transfers are available from Amazon, other on line sources and local hobby shops (if you have one). If you haven't used dry transfers before, you'll also need a burnisher. Microscale is the largest manufacturer of waterslide decals for model railroading and puts out a sheet of white Gothic letters and numbers in a variety of sizes on their sheet 95001. They now sell direct on their on line site and from other distributors and retailers. But the alignment and character weight issues are about the same. That leaves custom waterslide decals. ALPS printers are getting harder and harder to find, but you can have the use of one without buying it. Many of the remaining ones are now in use by custom decal shops. Googling "custom decals model railroad" brings up a long list. Pulling a couple from it, Kadee is a major manufacturer in the industry and offers custom decals for about $40 per 8 1/2" x 11" sheet, but seems to have fairly strict requirements for the art files they'll use. Shawmut Car Shops has been around quite a while as a one man shop, is about half the price and seems to be more open on the type of files they'll accept as artwork. Both use ALPS printers. Or try others on the list. I have no connection with any of the sources mentioned. On a custom sheet you could lay out the depth markings on the appropriate angle for the bow, port and starboard, probably a vertical column for the stern, port and starboard, the name for the bow, both sides, and stern and any other markings you might want (Plimsoll marks? boat numbers?) - you can get a lot on an 8 1/2" x 11" sheet - for this and future projects. Bill
  13. Hi Vaddoc Thanks indeed. I was actually surprised how realistic the ‘plants’ looked. Who’d have thought that tearing off bits of a kitchen scourer could look so good! Thanks for the compliments. Cheers. patrick
  14. Call me old fashioned, but I use shellac for priming all bare wood. It is dirt-cheap and about as water-impermeable as anything and very easy to use and clean up. It seals the wood pores and inhibits moisture absorption and movement of the wood to some extent. (It's soluble in, and easily cleans up with, alcohol and the shellac used on the artifacts found in King Tut's tomb has held up very well.) I then use a "sanding base coat" before final sanding and prep. The sanding base coat is designed to fill fine defects and to sand easily without clogging the sandpaper. It is not a water-based paint, but perhaps somebody's made one by now that I don't know about. (I use Interlux sanding base coat, available at marine chandleries.) Water-based paints can be tricky when sanding. They've improved dramatically in recent decades from the days when "latex paint" actually contained latex, but if you think about how well a pencil eraser or the rubber sole of a tennis shoe would sand... well, you get the idea. Like most "geezers," I lament the demise of the old solvent-based coatings, supposedly due to "environmental concerns." We learned to love their aromas and appreciate the results when they were used correctly. I wonder what the 300 year old Admiralty Board models we see in museums would look like today if they were painted with acrylics. None of us will be around to ever know for sure.
  15. Hi David, I will follow your build with interest. I have been looking at this model thinking "Mantua/Sergal's Cutty Sark might be something for me". I wish you best luck David. Regards Henrik
  16. Ain't No Sunshine. Bill Withers.
  17. Very nice Patrick. I do not think I ve ever seen plants added to a model boat! Genesis feels a very nice place to be. Lovely work. He he, Knights of Ni...😂
  18. Dave, You ll need proper brushes in different sizes. Search Proarte or Daler-Rowney system 3, the ones I use, they are fantastic. Thin initially to a watery consistency. If it seems too thick, it is. Best to use the recommended thinner and consider a retarder Always good to use a sealer (I use Americana water based sealer, very good) and sand to at least 400 grit. I often also use a primer before painting. You ll need many coats. Acrylic coverage is poor. I wait 15 min between coats. Trust the self levelling properties of the paint. Spread the paint but resist going over once more to correct it. Wait for the next coat, most times it will be fine. Brush dry to wet, start from an unpainted area and finish at the area you painted previously blending the two. Use low tack special tapes like frog tape or Tamiya. Paint will bleed under all other tapes. Do not use masking or electricians tape. Valejo model colour paints, combined with their thinner for hand brushing and the retarder give fantastic results. They are optimised for hand brushing. Acrylic paint is far less tough than enamel, you ll need to vanish over. Take care of the brushes (leave in water while painting, clean with dish soap after) and the masking tape edges. Not sure about the poly treatment, may cause adhesion issues. i would sand with 400 and use a primer. Regards Vaddoc
  19. Gidday Bob and another warm welcome from the Land Downunder. Good choice re the two books. I also think your choice of model is a good place to start. I would encourage you to ask questions when and if you are unsure of anything. Most members here are willing to share their knowledge and expertise. I wish you all the best in your endeavours, Mark.
  20. Looking good Jo. Just remember one thing: Paint paints. Paint is not intended to hide mistakes. On the contrary, most of the time paint "enhances" mistakes. So be careful about your decision. You are doing a great job so far my dear. Keep on it. The first model is (most of the times) the one that will bring you the more learning experiences. Best regards Ulises
  21. Used bit of CA to glue temporary 1/16” spacers in place on edge of previously glued floorboard. Easy back-and-forth motion breaks spacers loose after next floorboard is glued into place.
  22. A selection of decent quality brushes is sufficient. Learn to keep them properly cleaned after use and they'll last a long time. If you are using "water-based" acrylics, buy synthetic bristle bushes. If using oil-based paints, use a natural bristle brush for the best results. I don't know whether your acrylic paints thin with water or alcohol. That you'll have to find out, or perhaps somebody in here knows. Although I very much prefer old fashioned oil based paints, with acrylics I always look for the type that can be thinned with alcohol. Alcohol evaporates much, much faster than water.. This is an advantage whether one is using a brush or an air brush. Most all paint used for modeling needs "conditioning" as the professional painters call it. That is, it has to be properly thinned and "conditioners" added... or that's how it goes with oil paints... a bit of turpentine here, a bit of Japan drier there, some linseed oil, all make the paint flow well off the brush and "lay down" so there are no brush strokes. (Japan dryer regulates the drying time.) It's one of those things you have to learn by doing. It's easier for models than for full-size boats because you aren't so bothered with temperature, wind, and humidity in a home or heated workshop. Acrylics are often much easier to work with than artist's oils out of a tube. (Acrylic paint manufacturers often sell conditioning materials to suit their line of paints. They'll be called "retarder" and "thinner.") Practice and experiment before putting any paint on the model itself. Make a "test panel" to determine the color you will get after the paint has dried and to experiment with thinning and "conditioning" the behavior of the paint. The best paint job will be the one that goes on very thin... even like "water thin," and is laid up of several coats. It depends on the solids in the paint and other variables, but a decent topside job may take between five and eight coats or even more. Multiple thin coats are much better than fewer thick coats. (If you get brush strokes after the paid has dried, it's definitely going on too thick.) Make sure whatever you are going to paint is "operating room clean," as well as the area where you are working. Dust in the air and on the surface of the model will ruin the perfect surface you are trying to achieve. Also wash and dry your hands well, at least,... or better yet, wear clean nitrile gloves. Oily fingerprints can often adversely affect paint adhesion. Remember, it's going to be a paint job that is viewed from a foot away, not twenty feet away, so it has to be perfect if you want to do the job right. Using a painter's "tack rag," which are available at any paint store, is a good practice. It will pick up the dust. Needless to say, large surfaces, like hulls, must be "smooth as a baby's bottom" before painting. (I sand basecoats to at least 300 or 400 grit, making sure the surface is perfectly smooth. Any defect will show up big-time once the paint goes on.) If you want to get razor-sharp edges, use one of the "fine line" tapes sold for this purpose. 3M makes a "Fine Line" tape which is a green plastic stuff that stretches and sticks well, but is not difficult to remove. If you have complex shapes to mask, "frisket," plastic tape in sheet form that can be cut to shape with an Xacto knife is good stuff. It's used by air brush artists and can be found in any decent art supply store. Regular "painters'" masking tape can be used where sharp edges aren't critical. I often will mask a sharp edge with 1/4" wide Fine Line and then lay blue painter's tape on top of that. The Fine Line tape isn't cheap and a roll will last a long time if it's cared for. BTW, one "pro tip" I should mention is to always open a new roll of masking tape and place it in a plastic "zip lock" bag immediately and without laying the unwrapped roll of tape on it's side down on any surface. Obviously, you can take it out of the plastic bag to peel tape off the roll, but never, ever lay it down until it's back in it's zip lock baggie. This is a good habit to get into if you are doing finish painting. It really doesn't matter with blue painter's tape if you are painting the spare bedroom at home, but for fine finish work, if a roll of tape is laid on just about any surface, and especially if done so repeatedly, the sides of the roll will pick up all sorts of dust and dirt like a magnet and when the tape is unwound, all that dust and dirt stays right on the edge of the tape and renders it basically useless for producing a sharp edge. The baggie will also keep rolls of tape from drying out over time, so you won't be having to try to peel dried out tape off a roll before giving up and throwing it out ever again. Finally, although many people may know this from painful experience, don't leave masking tape on for long periods of time. For regular masking materials, I'd say never more than overnight. (There are specialty masking tapes which are designed to stay on the work for longer periods, if need be.) Masking tape will dry after a while (much faster outdoors in the sun, of course) and can become near impossible to remove after a time. Even short of that, when applied on painted surfaces, every hour it stays stuck down, the odds of it's pulling paint up with it when it's removed increases.
  23. First black to cover up the barnacles then green then grey i can add some more grunge after the upper hull is painted.
  24. Me too. If we had enough of us within driving distance of each other we could get a club going. I live in the middle of the state east to west, on the southern border, between Gainsville and West Plains. about 2 hours south of Springfield
  25. I thought of that myself. It would likely require a space in the center of a room to permit walk-around display. The case would likely be just too wide to place up against a wall. As it is, the case is going to have to so large it will probably dominate most any room in the average home, unless you've got a big place with a large entry foyer, or something like that.
  26. To those who gave likes, thank you and thanks for stopping by. Carl, thanks for your kind comment. My eyes are getting sore. I can’t imagine what 1/350 does to vision. Denis, thanks for your compliments and suggestions. I had seen a portion of Michael’s restoration but not the part with the lifeboats. Michael and you are in a whole other universe of talent and skill that I can only aspire to. I will definitely check out your Cutty Sark build before I get back to decal work. Steve Sidetracked After celebrating the completion of starboard railing fabrication I got sidetracked with the 16 lifeboats. My first attempt for mounting the lifeboats is lifting eyes mounted at each end of the thwarts, as an attachment point for the PE downfall leg, instead of trying to heat sink the leg into the footings as recommended in the instructions. Pictures I have seen of lifeboats show some sort of attachment point at the thwart level. I started with some kit wire that was too small for railings. It twists up into a small eye using a standard steel pin for a twisting post. The eye scales about 3 inches. A view topside of a sample thwart. Under the thwart I left the lift eye long and glued it in place for more pullout strength. After painting, the PE downfall has a bit more heft and roundness, and seems to be a middling substitute for rigging up 64 stropped blocks. Looks like an easy job doesn’t it. Unfortunately when I test fit the davit, boat, thwart, lift eye and downfall I discovered the downfall is too long with no way to shorten it, other than cut and solder which would probably be a massive muck up on 32 downfalls, although probably quite humorous to the membership. The only way it works using the PE is to fasten the downfall bottom leg at the footing level and make up the difference between the top of the downfall and the davit with rigging rope. Back to the drawing board, er instructions. This cobbled up bit of kit is the second test to see how downfall length and boat position is impacted by following the instructions, but with a lift eye added to allow installing the downfall after the thwarts are glued in place. I removed a lift eye from the test thwart and reset it into the footing, then straightened out the leg of the downfall and rebent it into a short hook. Wishing I had three small hands I hung the downfall off a taped-in-place davit and hooked it into the lift eye. The length works okay for boat position but I’m curious if a boat would ever actually be suspended by a downfall anchored into the bottom of the boat. It seems like it would make the boat very tippy during launching, unless there were ways of stabilizing it until it reached the water. The alternative is to spring for 64 blocks and make real downfalls, which would allow the lift eye to be installed at thwart level. Returning to pondering while working I primed the remaining davits and continued adding thwart supports to the lifeboats, neither one of which is pic-worthy.
  27. She was somewhat demanding at 4.30am this morning..... anyways, oilcanning done and barnacles added have to let them dry for a while and black grey and green coats
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