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About wefalck

  • Birthday 05/01/1956

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    Paris, France
  • Interests
    19th shipbuilding and naval history, indigeneous boats and their history

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  1. wefalck

    Virtual Reality Photography

    There are two elements to this, the 'stitching' and the viewing software that allows you to rotate and tilt the image, plus the zooming. Perhaps these are the keywords to look for. This piece of software is not exactly what you are looking for, but may help you to search into a useful direction: https://www.3dflow.net/3df-zephyr-pro-3d-models-from-photos/
  2. wefalck

    Goose Neck Lamp

    When I 'google' for LUXO-lamps I get articulated architects' lamps, not gooseneck lamps. That's something else. They can be bought everywhere, at least here in Europe. There are varieties with ordinary sockets (E27 in Europe) and elongated ones for fluorescent tubes (IKEA made a nice one, which I have, but it is now useless as they had a very unusual fluorescent tube in it - marketing so that you bought from them). I am still using the architects lamp that I got as a teenager in the late 1970s for my writing desk, but have fitted a large LED-globe to it to give a lot of quite uniform light that still can be directed to where I need it. One problem with this kind of ariculated lamp is that it needs to be fixed usually to the back or the side of the table/desk. My work-table is framed-in by shelves on three sides, so I had to be somewhat inventive to mount the lamp. The magnifying lamps on articulated arms have usually the same problem, as you cannot pivot the lens sideways - the link at the end of the arm only allows to tilt and turn the lamp head. So you must mount it somewhere opposite to where you are sitting. I have one mounted to my lathe work-stand and again had to be inventive, as the workstand is onyl 30 cm deep, while these lamps are designed for tables 60 to 70 cm deep. BTW, I found the magnifying lamps with rectangular lenses more useful than the ones with a round one.
  3. wefalck

    Goose Neck Lamp

    Goose-neck lamps are very useful, indeed, as a concept. However, I found that some products, e.g. the one from IKEA, just does not give enough lumens. They are not designed for our purposes. If you find a model with standard sockets - shy away from models in which you can't change the bulb, you can replace the bulb with more powerful LED ones. There is no worry anymore over overheating. Personally, I prefer a warm (3200 K) light colour. Multiply the wattage of the LED by 8, that gives you the equivalent to an incandescent bulb.
  4. wefalck


    I may be stupid, but it isn't to me, sorry. Is the pin with the wire inside the tube and you form the sharp corners with it ? Perhaps also the term 'spin' is confusing, as it normally implies serveral, if not many turns.
  5. wefalck


    Can you post a picture, Dave ? I don't seem to understand what you do with the tube, once you bent the wire around the pin etc.
  6. Double top-sails already in 1854 ? This must be then a very early example. I thought that they were only introduced in the early 1860s - or maybe this applies to Europe only.
  7. Ignoring the fact that on a real ship not all strakes would have the same width, most model builders would divide the space between the lower edge of the wale, the top-most and thicker plank, and the rabbet in the keel into a number of equal spaces. For this you can simply take a paper strip around the frame/bulkhead, mark the two points, measure their distance and divide by the number of planks e.g. according to the width of your stock or what yould be the scale width according to the real ship. This subdividing would be one of the main applications of proportional dividers, but you can do it also with the help of a pocket-calculator. You repeat this for each frame/bulkhead. You then take the paper strips and transfer the marks onto the frames/bulkheads. The next step is to make a paper or cardboard template for the garboard strake. Tracing paper is good for this, as you can see through it the marks on the frame/bulkhead and the edge of the rabbet. Take a strip just wide enough to cover all marks and the rabbet line, and transfer these onto the paper. Join the marks with the help of a thin plank as spiling batten. Now you have a paper template for cutting out the garboard plank from your stock. Leave a bit of material, so you can correct the plank if needed and be aware that the garboard plank may be bent in the plane, vertical to it, and may have curvature in the plane.
  8. wefalck


    Have a look at the other recent thread on eye-bolts ... the can be made very small.
  9. Dip-painting is not as easy at it looks. The paint has to have the right viscosity and one needs to turn the piece around until the paint sets, so that it does not accumulate in low parts. If the viscosity is too high, the paint would also tend to form 'fillets' around surface details, making them thus blurred. Spray painting is certainly the best option. Airbrushes and compressors are quite affordable these days. My advice was for painting iron cannons. Simulating patinated bronze is another story. Don't have any experience with that. In any case the patina my be worn off at edges, high points of cast-on decorations and the like, so that one would need to highlight these with bronze paint.
  10. Just a couple of additions to Ed's well-reasoned response: - here and on other fora there has been a repeated discussion of what actually 'tar' is. To summarise: in the pre-industrial ages this was a destillation product from resinous tree-bark, namely that of pine-trees; the Eastern Baltic area was a major source, due to the prevalence of such trees there and considerable amounts where shipped through Stockholm, hence the stuff became know as Stockholm Tar; this tar varies in colour, but is essentially dark brown. The two main byproducts from coal destillation to obtain town-gas were coke and various tars; these are chemically different from the wood-tar and essentially black or very dark brown in colour; their smell is also different; due to the large quantities of town-gas produced from the 1840s on, also large quantities of tar became available and began to replace Stockholm Tar, being a lot cheaper. Both products have different properties and, hence, different applications. Stockholm Tar stays sticky, unless whethered at sea, while some of the coal-tar solidify and become quite dry, one volatiles have gassed off. - hemp is a natural fibre and changes its property with humidity content mainly, even if the strands of the rope had been tarred originally; so adjusting the rigging is mostly likely a need over a period of months or years; covering the lanyards in thick Stockholm Tar would make this more difficult, covering in thick coal-tar almost impossible. - the sailing properties of ship depend on many factors, including the trim, the draught, and the rake of the masts; it is known that masters optimised the rigging for given conditions in order to improve the sailing performance; so lanyards stuck in the dead-eyes would not help. - we should not be mislead by the appearance of static museum ships; there compromises have to made for the lack of the continuous and intensive maintenance a working vessel would see; so on such ships you are likely to see a lot of paint and tar slapped onto parts that are prone to deterioration. - also on modern ships rigged with steel wire supporting steel masts you are likely to see many more parts being virtually immobilised with thick coats of paint or tar, because there is no need for adjustment.
  11. You can add a bit of realism and plasticity by rubbing the painted barrels with graphite recovered by rubbing a very soft lead-pencil (B7 or B8) on a piece of sandpaper. Another option is to accentuate edges on the barrels with such a pencil and then blend this in with a cotton stick. In reality such barrels would have been painted with black oil-paint.
  12. I would also use the opportunity to clean up the flash and slight mismatch between the halves from the casting process ...
  13. Why buying something that can be made for next to nothing ? If you don't have needle-nose pliers, or if they are too big, just put a nail with a diameter a tad smaller than the internal diameter of the eye needed into a piece of wood. Wind soft brass or copper wire around and cut off the excess. Adjust with a normal pair of pliers - you will never run out of eye-bolts again, if you have a reasonable stock of wire (which a shipmodeller usually has).
  14. Ball-bearings can be bought rather cheaply today in any size you want/need from ebay. Once you have the steady-rest for your Unimat, you may consider converting the brass fingers to ball-bearing supports. I don't know, how the fingers on this steady-rest look like, but it should be easy to fit a small ball-bearing on each. Opt for the closed-type of bearings to keep dust out. The fingers then can be adjusted to any desired diameter and re-adujsted as you take off material. Another, old-time mechanic's option is to make a simple hole into a thick piece of cardboard and to fix this on the lathe bed as a steady-rest. It's kind of a disposable rest.
  15. The story about taking the slack out of shrouds probably comes from the pre-wire rope days, when ships on long equatorial passages stayed for weeks on the same tack. This may have stretched the windward shrouds and slack had to be taken out of the leeward ones because, if a sudden change of tack for whatever reason would be needed, the mast would come over like a whip, risking to snap it. With wire rope this is not an issue.

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