thibaultron

I'm pretty sure all digital editions will become available. 

Hi Hollowneck  @hollowneck Can I get back issues once I have joined?
 
Tim

Part 004
 
While using pencils to color the edges of the Victrola I broke the area of the neck of the trumpet, not all the way, but it was floppy. To fix it I added a bead of glue along the back of the area, and as added strengthening, I glued a sliver of paper to the back between the mouth of the trumpet and the base. After a couple rounds of adding more glue along those areas, the part is now quite strong. After the last layer set, I trimmed the pointed area of the paper off.
 

 
My acid-free paper came a few days ago, and I eagerly loaded it into my laser printer, to print a new copy of the carpet! I ran the print, with a couple extra, and got a shock when I looked at the prints, they were in Black and White! What the h..l! Then I checked the printer, the magenta cartridge had just run out of toner! AAAAHHH!
 
Not immediately having the money for a new set of toners, (the others were also low), I dug the old prints I did on regular paper out, and sorted through them to find the best two. I took the slightly darker print, and proceeded to set the carpet down like in the trials, I ran in a previous part of the thread, this time gluing the sections down as I went. It went well until I got to the last area that was to go down on the lower level, it was crinkled a bit and bowed up in the middle. No problem, I just laid down glue over most of the area, and clamped it down, as shown below. Disaster! The glue had soaked into the paper, and it looked like the carpet had been flooded with water! I had glued the other areas at the edges only. Luckily, I had not let the glue fully dry, and with much effort, and a lot of strong language, I managed to get that section and the glue removed. I could not use Isopropyl Alcohol on it, as it affects whatever paint the manufacturer applied to the kit parts.
 

 
I cut the carpet at the corner between the lower floor and the riser for the first step. This left the section on the riser loose, as I had only applied glue to the horizontal areas. I took the slightly lighter print and cut it a little longer than needed, the end of this extended past the front edge of the floor, and clamped it in place. I pressed it in place, with the curved sprue section I used to form the rest of the carpet, then ran a hobby knife down the curved corner. This gave me a guide, to trim the unneeded area off. I moved the sprue back a little and holding it down tightly, after making sure it was parallel to the front edge of the floor, I trimmed the extra off by running the knife down the sprue edge again. This gave me a good matching curved edge. I glued the new floor section down at just the edges, and now, no “water” stains. The two prints are almost the same color, and the difference is not noticeable. To secure the bottom edge of the riser, I held it in place and ran a bead of glue on the outside of the corner. There was a little of the floor showing at this joint after the glue dried, so I painted the corner with Vallejo Flat Earth, which closely matches the tan areas of the carpet.
 
Even if someone does notice the different shades of the two pieces, I will just say that Oriental Carpets are handmade, and even two “identical” carpets will vary a little due to the hand dying process! “That’s my story and I’m sticking to it.”
 
Here is a picture of the finished carpet.
 

 
Below, is a picture of the small standing picture and frame, that I forgot to get went I took the picture of the hanging frames.
 

 

 
 
I, next, assembled, glued, and clamped the right-hand cover and spine, to the base.
 

 
Here it is after it dried. You can see the slight gap on the left-hand side of the carpet. Once painted, this disappeared.
 

 
The next parts I assembled were the back wall area and the first arch. These were supposed to be assembled earlier, but I wanted to wait to glue them in when I had something to support them, in the correct orientation.
 
Before I glued them in, I installed the first LED (see the instructions below), the one that will backlight the window. It turns out the clear stickers are to be used as tape to hold the wires in place. I used one to hold this LED’s wires, and then additionally glued it in place, also.
 

 
Here is a picture of the LED assembly. The short one at the bottom, is the one that is used here.
 

 
This photo shows the LED taped and glued in place.
 

 
The ceiling and first arch make up the rest of this sub-assembly. The picture, below, shows the installed parts. I did not glue the two legs of the arch to the floor. The cover is slightly warped, and the left side of the arch sticks up a little. The arch is captured by the floor and ceiling tabs, so it can float free at the bottom. There are two more arches that go in front of this one, so any gaps will be hidden. I hope everything will meet better when the other cover and the front piece are installed, and can counteract the warpage. If not, I will torque the whole assembly and add glue to hold it in the correct alignment.
 
In the picture you can see the gap on the left-hand arch leg.
 

 
I wanted to see how the backlighting looked, so I set the left-hand cover in place and turned on the LEDs. The first shows the model with the interior dark, so I could get the whole effect. When the model is done, there will be two more LEDs lighting the interior. The second picture is with some overhead light added.
 

 

 
I glued in the cabinet, and clamped the left side, so the bottom, sat firmly down on the floor. The instructions, would have had me gluing a set of books where the head of the clamp is. I’m glad I waited until this was in place.
 

 
The next assembly, is a small semi-circular table. The instructions have a mistake, that I did not notice, until I went to paint the edges, while building this. In the picture of the instruction sheet, below, it clearly shows the upper level of the table, having both pieces with the printed surfaces pointed up. This unfortunately, leaves the raw wood side facing the interior of the assembly! I had to paint the underside, as well as the edges, to hide this. The table should be built with the printed side of this piece down.
 

 
You can see the raw face in the picture below. It was “Fun” trying to get all the spindles in place while attaching them to the semi-circular ends, and that is one reason I missed the error. In any case, once everything was assembled, I use the edge of my ruler to line the top and bottom of the piece up.
 

 
In the next Part I will be building some of the small details, including the books.

Part 004
 
While using pencils to color the edges of the Victrola I broke the area of the neck of the trumpet, not all the way, but it was floppy. To fix it I added a bead of glue along the back of the area, and as added strengthening, I glued a sliver of paper to the back between the mouth of the trumpet and the base. After a couple rounds of adding more glue along those areas, the part is now quite strong. After the last layer set, I trimmed the pointed area of the paper off.
 

 
My acid-free paper came a few days ago, and I eagerly loaded it into my laser printer, to print a new copy of the carpet! I ran the print, with a couple extra, and got a shock when I looked at the prints, they were in Black and White! What the h..l! Then I checked the printer, the magenta cartridge had just run out of toner! AAAAHHH!
 
Not immediately having the money for a new set of toners, (the others were also low), I dug the old prints I did on regular paper out, and sorted through them to find the best two. I took the slightly darker print, and proceeded to set the carpet down like in the trials, I ran in a previous part of the thread, this time gluing the sections down as I went. It went well until I got to the last area that was to go down on the lower level, it was crinkled a bit and bowed up in the middle. No problem, I just laid down glue over most of the area, and clamped it down, as shown below. Disaster! The glue had soaked into the paper, and it looked like the carpet had been flooded with water! I had glued the other areas at the edges only. Luckily, I had not let the glue fully dry, and with much effort, and a lot of strong language, I managed to get that section and the glue removed. I could not use Isopropyl Alcohol on it, as it affects whatever paint the manufacturer applied to the kit parts.
 

 
I cut the carpet at the corner between the lower floor and the riser for the first step. This left the section on the riser loose, as I had only applied glue to the horizontal areas. I took the slightly lighter print and cut it a little longer than needed, the end of this extended past the front edge of the floor, and clamped it in place. I pressed it in place, with the curved sprue section I used to form the rest of the carpet, then ran a hobby knife down the curved corner. This gave me a guide, to trim the unneeded area off. I moved the sprue back a little and holding it down tightly, after making sure it was parallel to the front edge of the floor, I trimmed the extra off by running the knife down the sprue edge again. This gave me a good matching curved edge. I glued the new floor section down at just the edges, and now, no “water” stains. The two prints are almost the same color, and the difference is not noticeable. To secure the bottom edge of the riser, I held it in place and ran a bead of glue on the outside of the corner. There was a little of the floor showing at this joint after the glue dried, so I painted the corner with Vallejo Flat Earth, which closely matches the tan areas of the carpet.
 
Even if someone does notice the different shades of the two pieces, I will just say that Oriental Carpets are handmade, and even two “identical” carpets will vary a little due to the hand dying process! “That’s my story and I’m sticking to it.”
 
Here is a picture of the finished carpet.
 

 
Below, is a picture of the small standing picture and frame, that I forgot to get went I took the picture of the hanging frames.
 

 

 
 
I, next, assembled, glued, and clamped the right-hand cover and spine, to the base.
 

 
Here it is after it dried. You can see the slight gap on the left-hand side of the carpet. Once painted, this disappeared.
 

 
The next parts I assembled were the back wall area and the first arch. These were supposed to be assembled earlier, but I wanted to wait to glue them in when I had something to support them, in the correct orientation.
 
Before I glued them in, I installed the first LED (see the instructions below), the one that will backlight the window. It turns out the clear stickers are to be used as tape to hold the wires in place. I used one to hold this LED’s wires, and then additionally glued it in place, also.
 

 
Here is a picture of the LED assembly. The short one at the bottom, is the one that is used here.
 

 
This photo shows the LED taped and glued in place.
 

 
The ceiling and first arch make up the rest of this sub-assembly. The picture, below, shows the installed parts. I did not glue the two legs of the arch to the floor. The cover is slightly warped, and the left side of the arch sticks up a little. The arch is captured by the floor and ceiling tabs, so it can float free at the bottom. There are two more arches that go in front of this one, so any gaps will be hidden. I hope everything will meet better when the other cover and the front piece are installed, and can counteract the warpage. If not, I will torque the whole assembly and add glue to hold it in the correct alignment.
 
In the picture you can see the gap on the left-hand arch leg.
 

 
I wanted to see how the backlighting looked, so I set the left-hand cover in place and turned on the LEDs. The first shows the model with the interior dark, so I could get the whole effect. When the model is done, there will be two more LEDs lighting the interior. The second picture is with some overhead light added.
 

 

 
I glued in the cabinet, and clamped the left side, so the bottom, sat firmly down on the floor. The instructions, would have had me gluing a set of books where the head of the clamp is. I’m glad I waited until this was in place.
 

 
The next assembly, is a small semi-circular table. The instructions have a mistake, that I did not notice, until I went to paint the edges, while building this. In the picture of the instruction sheet, below, it clearly shows the upper level of the table, having both pieces with the printed surfaces pointed up. This unfortunately, leaves the raw wood side facing the interior of the assembly! I had to paint the underside, as well as the edges, to hide this. The table should be built with the printed side of this piece down.
 

 
You can see the raw face in the picture below. It was “Fun” trying to get all the spindles in place while attaching them to the semi-circular ends, and that is one reason I missed the error. In any case, once everything was assembled, I use the edge of my ruler to line the top and bottom of the piece up.
 

 
In the next Part I will be building some of the small details, including the books.

You should, Tim; well worth the dosh. Very nice publication if I say so myself* And allow me to suggest the digital edition that arrives promptly, unencumbered by two postal entities...
 
*Full disclosure: I'm a Director of the NRG, the owner/operators of ModelShipWorld.

Yep. The print edition has shipped late to subscribers; I had my digital edition 2 weeks ago.

Welcome to the Vanguard builders, I'm building Sherbourne; it is a very nice (as in fine) kit with some elegant laser work.

This is the Model Shipways kit. I'm altering the deck layout and such to build it as a pleasure craft - a little kit bashing. Maury S is building the schooner rig on the scratch side of the site.
 
Thanks - Kenneth
 

He's converting the MS kit to a schooner rig.

Who made this kit? I have the model Expo single mast version.

It wasn't until I posted the below comments that I saw Allan's post from Caruana. Fortuitously, it seems my deductions were correct. It appears that The History of British Sea Ordinance, volumes I and II need to be acquired! I was not familiar with the work. Thanks, Allan!
 
On second thought, having just looked up The History of British Sea Ordinance, volumes I and II, I'm afraid I'll just have to pass at $450 each used on eBay! Thanks again, Allan!  
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I believe it had to be a little bit of both, depending upon the size of the gun, first and foremost. As the saying goes, "Different ships, different long splices." Heavier guns had larger breaching ropes and larger rope tied through rings doesn't lend itself well to the mechanics of tying knots, so bends are the more common means of attachment. Then again, three well-done seizings will hold as well as a knot and be easier to remove that a knot that's been pulled tight by repeated jerks from a bucking cannon. For lighter guns, which will have smaller breaching ropes, they might dispense with bends entirely and just employ seizings, particularly where the rope is turned about a thimble on the ring or, as in one instance illustrated below, a thimble on a clevis pin.
 
For the purposes of modeling, the modeler may well decide that in the case of a smaller scale model, that a bend around the ring isn't a sufficiently noticeable detail to merit the work to tie them, while on the other hand, in the case of larger scales (and especially "gun station models") a proper commitment to accuracy at the finest level of detail possible will mandate that a proper bend and seizings are done.
 
The below contemporary drawing of heavy guns shows what appears, albeit unclearly, to be breaching ropes that have been bent around the ring, much as a cable was bent around an anchor stock ring with an anchor bend finished with the bitter end whipped.

In the below drawing the use of some sort of bend (an "anchor bend" it might appear) is used to secure the breaching rope to the ring in the same fashion as would a cable be fastened to an anchor stock ring with a bend and three whippings, the first being a throat seizing.

 
Here again in the below photo of a gun station on an unknown museum ship, apparently perhaps of later construction than your late 18th Century, a purpose-built toggle and clevis fitting with the clevis passing through a thimble about which the breaching rope is simply seized with a throat seizing and two common seizings. Here, the thimble precludes the bend about a ring and provides a neater, more elegant connection. 
 

 
Detail of above arrangement, albeit without a throat seizing:
 

 
Below are photos of guns rigged "for sea," rather than "for action."  (Modelers always seem to depict all their models' armament rigged for action, even to the point of all guns run out port and starboard, which would only occur on a rare occasion when the ship would be "breaking the line" and firing as her guns bore simultaneously on the enemy ships of the line to port and starboard (and to devastating effect as Nelson demonstrated at Trafalgar.) When the guns were not manned and rigged for action, they would be rigged for sea, meaning that all extraneous tackles and implements would be stowed (likely below), the barrel would be secured, more likely in the fashion shown in the first picture, than in the second, which isn't clear as to what is being used to secure the barrel, although it is not the breaching rope), and then the gun would be secured to prevent its movement on the deck in a seaway perhaps with its tackles set fast. (If the ship were sailing in any fashion which would cause her to heel when the guns were in action, the leeward guns would have to be restrained from rolling "downhill" towards the rail by their inhaul tackle, while the windward guns would have to be restrained from running backwards inboard by their outhaul or "training" tackles.) In the first picture below, however, the positioning of the gun is incorrect. In a seaway, the guns would not be stowed run out through the bulwark or through open gunports. Not only would open gunports be hazardous in a seaway (the lower deck ports often being only mere feet above the waterline) but the stability of the ship would be enhanced by bringing the weight of the guns as far inboard as possible. 
 
 

 

 

 
The above "stowed" options may warrant more research as to the exact practice common in a given navy at a given period. I included these for the sake of completeness. Although cannon depicted as rigged for sea are rarely seen on models today, they can be a lot less work to model than gun stations rigged for action and, if one must, there's always the option to combine the two conditions, with a couple of chase guns run out and perhaps two, four, or six stations rigged for action as if the larger modeled vessel were running down a much smaller quarry. 

Thank you for that wonderful reply and so for my date of 1794 it would be a throat splice and a half hitch. Great stuff

I believe that breeching rope was made from previously used line that had already been stretched.

Caruana gives the following description on page 384 of The History of English Sea Ordnance Volume 2.   
Allan

Regards the above. I have read somewhere that the Cannon breechings are tied to a ring and an eye bolt, and I think a half hitch knots were used as are a number of models I have found..All the photos and drawings I can find are that the rope is seized to metal ring and according to Mondfields book 'Historic ship models' a throat siezing followed by two normal siezing are used. Any thoughts or clarity on thls? Perhaps One was used for a specific period and another for a different period. Laverys book 'The Arming and fitting of English ships of war ' Also states that the breeching ropes are seized to the ring bolt.At the moment I am specifically interested in the late 18th century .Was one used for certain size cannon.? As neither methods are permanent clearly the one which is tied could be altered during battle if the breeching were to be stretched in anyway . If newer ropes were used for whatever reason then perhaps the ropes would stretch further initially, rather than ropes which have been used for some time and the slack taken up either by seizing ot tieing. Perhaps ropes were even pre stretched prior to use. Just some of the issues running through my head prior to rigging the cannon on my HMDiana 1794

You couldn't choose a better brand of kits to learn with. Start a build log, plenty of us will follow though many are finer than I!

Thank you!
 
Next month, a YouTuber will start a build of Sherbourne, so this may also be of help for you:
 
Tagliamare - YouTube
 
 

Thanks.  I forgot to mention that.

Sorry to ask, and I really am not trying to be obtuse, but what is this shaft? Your topic is laser cut cannon brackets so I'm totally confused.😕
Thanks😀
Allan

I cheated. 
I couldn’t resist the temptation of turning this in the lathe in a minute and a half. 
Supposed to be assembled from strips, then sanded. 
Shoot me. 

A cricut is not a machine that could or even should replace a laser cutter.  It’s just a less expensive way to cut your own parts.
 
cricut is a few hundred dollars a laser in a few thousand dollars.  Definitely a big difference in price and also quality of cut and what you can do with a laser you can’t do with a cricut.  Cricut too limited.
 
 But if you don’t have the money for a laser and you, your wife, or partner, has a cricut,  try it see what it can do.  It surprised me.

You can use cad but some of the drawing programs I’ve found that the only thing I had to do was resize the whole wall to the correct size and then cut it.  
 
when I resized everything the windows and floors were then the correct size as well.
 
 You can also just draw with the cricut program and no resizing is needed then.

is the cutter a rotary blade?
 
how does it interface with the computer?
 
can i create projects using a computer cad program and converting the files to gls output files?
 
which machine does your wife have that can cut 1/8" ply?
 
 
 
 
 

I used a Cricut once to attempt to cut planks from 1/16" boxwood.  There was not need for a second attempt.  It worked fine on basswood.

Yes, I've considered the Cricut as well. My daughter has one. The manufacturer's specifications indicate that grown wood or veneer up to 2.4 mm thick or plywood up to 1/8" thick (why they mix the measurement systems, I have no idea) can be cut on the machine. I suppose, theoretically at least, that computer data for an entire ship model, in some cases, at least, could be sold for use on the machine to cut out all the parts for a decent model. In theory, at least. It would have to employ some card stock modeling techniques. The machine surely has many applications for modeling, although most all of which I'm aware are already well-covered by existing technology.  They seem to be a lot of fun to play with. Whether you need one or not, is up to you.