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Hubac's Historian

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Everything posted by Hubac's Historian

  1. First of all - mission accomplished! Nothing about the way all of the stern elements come together is kit-like. Bravo! The thing I like so much about the Speedwell is that in addition to her elegant up-sweeping sheer-line, she has such a nice balance of carved work that really bring a lot of visual interest to the model. As always, your engineering of these processes is ingenious. That is quite an experience you are in for to be involved with a major film production, starring several of the best actors of our time. The recognition and opportunity are well-deserved! Happy Thanksgiving to all!
  2. Happy Thanksgiving, Gary! You’re off to a great start, and I look forward to your return when you are ready to do so. Best, Marc
  3. I don’t think the running rigging will be an issue, Bill. It was just the stark contrast between the ratlines and shrouds that didn’t work as well. If it’s any consolation, on my first build I also went for high contrast with my deadeye lashings, jeer block lashings and lower mast tackles: This is actually stark white line, though, as opposed to tan, which would have been a better choice.
  4. Bill, the shrouds look immeasurably better now. I always want to respect people’s aesthetic choices, but Kirill makes a really solid point about how the darker colors improve the scale effect of the ratlines. I wish all of you (Americans and foreign ex-pats) a Happy Thanksgiving!
  5. Congrats, Michael! You have been very low-key in your own appraisal of your work, but I will say unequivocally that this is just so excellent and it is the most unique presentation of this model that I have ever seen. It begs the question: what can't Michael D do? I love the way you push yourself to do really difficult things like a full 17th C. rig with fairly flimsy styrene spars, and yet - everything is tensioned where it should be, slack where it should be, and there is ZERO spar deformation. All details in perfect scale. Just incredible! It goes without saying that I'm looking forward to your next build.
  6. From what I can gather, from at least the mid-1680’s onward, the French were single-reefing main courses and double reefing topsails. Here, evident on RL 1692: The men loosing the fore course appear to be standing on foot-ropes, but the same are not discernible on the topsail yards. Jean Boudriot shows reef points and foot ropes for his L’Ambiteaux of 1680. Lemineur shows reef points, foot-ropes and lower course bonnets for his St. Philippe of 1693: Lastly, the Malaga Scroll (1704) representing SR 1693 shows reef points:
  7. I am completely naïve on this subject myself, but I was always under the impression that Hide glue (ground up horse hooves, or so I believe), was a simple matter of adding the glue flakes to a melting pot and then they melt right in the pot. You might want to research “furniture restoration/conservation techniques with animal glue,” as this is one arena where these glues are still in use.
  8. I think the greatest value in sharing what we do here, is re-enforcing each, our own understanding of process and the many different ways to approach a problem. That is what I find personally satisfying in the hobby - the how - and the thing that I enjoy reading most in other people’s projects. Before your Gustav lion, it would not necessarily have occurred to me to model the under-water degradation of the statue surface. Now, though, I find that a cool idea that I might incorporate into some future project. Also, personally, I find that maintaining build-logs is a good motivator for actually getting the work done because I am simultaneously motivated to share the process as it unfolds.
  9. Frank, this is simply a stunning piece of work and it is beautifully presented! I congratulate you on the completion of this journey, and extend my sympathies to you and your wife’s families. Like everyone here, I look forward to your next project.
  10. Speaking of smells, would not animal-based glues be a candidate for glueing bone? This would have been the adhesive available to early builders of bone models.
  11. I really like the darker frieze for all the reasons preciously mentioned. It’s good to mix things up from time to time.
  12. Hello Siggi, and thank you for stopping by my build page. It was pointed out to me, recently, that my painting of the ship is consistent with the Mannerist style, preceding the Baroque period. That is also the time period of these lovey buildings that you have photographed. Thank you for the pics and for the kind words.
  13. This really came out well, and is an interesting execution to show the degradation of 300 years under water. I am excited to see what you do with Le Fulminant.
  14. I see the appeal in a simplified dockyard style, but I find the sheer of the model to be a little stiff, and the transition from quarters to stern to be a little rough. Some may say I’m being unfair, but full lines plans exist for the ship. I don’t understand, in the computer age, why that is so difficult an ask for kit manufacturers. We know what the ship is supposed to look like! And, as often is the case - the masting and spar plan are a complete afterthought. $1,700? Not for me.
  15. Yes, that makes perfect sense. This is a walkable balcony, after all. Best, Marc
  16. I continue to be fascinated by your process, and your logic for filling-in the blanks is clear and as close to unassailable as one can hope to get. I did not initially understand the framing of arms in your beakhead bulkhead, but now I feel silly for not seeing the connection to the way they are framed at the stern. I wish that I had also made the connection that the arms should always literally be crowned. Who’s jealous now? I can relate to the frustrating tedium of fitting the headrail support timbers. Despite making what I was sure were very close patterns, I still had to do several rounds of subtraction and addition to get everything to mate nicely together. I also realize, now, that I have made the job of gammoning more difficult for myself by glueing-in the headrails early, but I needed them in-place, in order to stabilize the cross timbers. Oh well! That is also a clever hack for making the beakhead grating look criss-crossed as it should be. Also, fitting the figurehead to the stem assembly is another challenging test of patience. I had three to choose from and all three had varying degrees of scoliosis. I like your solution to re-enforcing the lower transom and bringing the upper hull closer together. Using the stock parts really does beg for something appropriately architectural to hold the whole thing together. As great as the kit is, the warping issues in this area are challenging to deal with. A++ As I’ve said before, your particular coloration of the stern plate is just so perfectly balanced and really draws all of the many details to the eye. A+++
  17. Your window framing is splendid, Siggi. Looking at the stern drawing, it is a curious thing that the central light of the upper tier is slightly wider than the light beneath it. Consequently, the flanking pilasters of this center light are out of alignment with the ones drawn beneath it. It seems deliberate, as drawn, but unusual in consideration of the underlying framing. What are your thoughts on this?
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