igorcap

And here I have finally created the sculpture of the Queen Catherine. I used her portraits and other sources of suitable information to achieve this appearance.
https://www.google.cz/search?biw=1366&bih=662&tbm=isch&sa=1&ei=WbrlWunRM4ymsgH53b2gCQ&q=queen+catherine+of+braganza&oq=queen+catherine+of+braganza+&gs_l=psy-ab.1.0.0i30k1.7973.7973.0.9707.1.1.0.0.0.0.113.113.0j1.1.0....0...1c.1.64.psy-ab..0.1.113....0.0GmofsBz4WU
https://en.wikipedia.org/wiki/Catherine_of_Braganza
 
The clothing is in an ancient style similar to the Vale's painting.
https://www.modelforum.cz/viewtopic.php?f=177&t=110763&start=420#p2108444
https://www.modelforum.cz/download/file.php?id=1399865
 


 
 
In the last two photos there is a statue after some minor improvements.
 

 

After placing them on the model....

And here I continue again with decoration and sculpting.....

Current status
Have a great time and enjoy the pics.

Hello
Albert, Carl, Nils, Paul, Micheal,
thank you for always checking my report, and all others for the LIKES too.
The guide blocks are now on the model at the place at the main mast and the foremast.
Here are a few pictures.
Before I work on the standing rigging, I have to make a few blocks for the backstays. These are fixed on the channels.

Hello friends of model making,
thanks for the interest, especially thanks to Carl for
the last nice comment.
At the moment my job takes me a lot.
Therefore, there is little time for the hobby.
In that respect, I can only show a little.
The iron fittings of the blocks for the backstays I have as etched parts
commissioned.

Other fittings are for the double blocks for the boat davits.

These blocks are equipped with hooks.
For this my first attempt. This is not optimal yet.


 

Hello,

until the etched parts arrive, I make hooks for the rigging and blocks.
These hooks are reproduced with brass castings.

Hello,
finally the etched parts have arrived.


So I made another prototype for the double blocks for the backstays.
The attachment on the channels is shown here with a cross pin.


Whether that is historically provable, I do not know. But I can not do this
find information, neither in the literature nor on the Internet.
Maybe you know a solution for this?

Yesterday I created other pieces of decoration on stern according to a model of Saint Michael (1669).

http://collections.rmg.co.uk/collections/objects/65963.html
The sculptures are more detailed in comparison with decoration on my older ship models.
 
 

And others.....
 
Please enjoy the pics, soon I will add new ones.
 
Best regards, 
Doris

Dear friends,
I proud to present next version of rope making machine (video to come soon):
https://shipworkshop.com/products/tools/vr-31-rope-making-machine
VR 3.1 Rope making machine
(HD adaptable rope making machine. Former Ropewalk "Prosak")
What's new:
VR = Vertical ropewalk. New version of former ropewalk "Prosak". No need to reassemble for 3- or 4-stranded ropes. Can be secured on both horizontal and vertical surfaces. HD adaptable. Can be transformed into HD (Horizontal Design) machine. Not yet available. There are notches on the machine that will help to mark screw holes for securing the machine.
Here is user's manual:
VR31.pdf
 

Hello! 
 
It is my last work - head figure and decor for Royal yacht " Queen Victoria "

Reconstruction of decor and production of elements from wood.
 

Reconstruction of decor and production of elements from wood.
 

Reconstruction of decor and production of elements from wood.
 

Reconstruction of decor and production of elements from wood.
 

I continue to publish a photo about working on an angel. This series shows how the face is gradually changing. Now this is a more subtle work, which I do with a subtle instrument. More often than not, I begin to do details with faces. Well, of course, if the conversation is about the figures of people. But I do the same with animals and start the details from their head. It's more comfortable for me. The head of any sculpture is the most important place, the most important thing. So I try to do it first.
 


I think this: if I suddenly make an irreparable mistake, I'll take another piece. But if I leave my face to the end, I'll make the whole sculpture and at the end I'll mess up  face, then I'll waste more time. So I'm doing the head fof sculpture first.
I also want to draw attention to other parts of the figure. There are places I do not pay attention to specially. Look at the look of the helmet and hair, as well as the bottom of the figure with clothes. In these places I do not work at all now. At this stage, I remove unnecessary material in these places only if it prevents me from approaching the instrument comfortably. If there is no interference, I do not pay attention to these zones. I feel so comfortable. I think so: now my task is this face person and I give all my attention to this topic. While I do not know exactly how I will do creases, so I better not touch them, so as not to accidentally remove excess material.
 

 

On these frames you can see what one small secret looks like. The sculpture has changed very much. It's not from other lighting. The fact is that these photos I made the next morning, after I covered the sculpture with oil. I covered him before going to bed, I left him to rest for the night, so that the oil would be absorbed into the tree. And these pictures were taken the next morning. See how much material has changed. The angel looks as if I have polished it for a long time. In fact, this effect gives an oil coating. It does wonders. After him, the figure not only looks different. Now the material is completely cut off. There are such places on the sculpture, where due to the arrangement of the fibers, the traces of the cut are very ugly. Such places are not smooth, but as if there was someone plowing on a tractor. Such a feeling that they worked with a tool without sharpening. After coating the oil, everything changes and is cut much better. The oil is not absorbed very deeply and if the depth of the material is removed more than 3-4 mm, then the wood that is wet from the oil will run out and the material in this place will become as it was without oil.
When I tried to make a carving with oil, I really liked this method and I used a lot of oil. For example, he immediately covered the entire figure. But over time, I realized that this method has drawbacks. And now I do not use oil the way I did it while working with this angel.
What are the cons?
1. When you hold the workpiece from your hands on the sculpture gets dirt.
 Wood with oil very quickly absorbs grease and dirt from the hands. And where there are convex places the tree becomes darker. And it's not very good. I tried to work with gloves. But I did not like it. In gloves, especially rubber, my hands sweat quickly and it's not pleasant. I tried to put on cotton gloves and again I did not like it. In them I do not feel the instrument well. It feels like I have to sew a garter and a thread in boxing gloves. I suffered from this. I thought that you need to wait, it will be a little time and I will get used to it. But one day there was a case after which I took off the gloves and did not take them anymore. I was wearing cotton gloves, I wanted to put the sculpture on the table, but with some thread the glove caught on the corner of the sculpture and it hung under the glove. And after a moment the sculpture fell off this thread and fell to the floor. I realized that if at that time my work would have come to the end, and the figure had small details, then they would have crashed from falling. So I realized that I do not like gloves at all. But back to oil.
2. Another disadvantage of oil is that it is impossible to glue anything to the treated wood. Only on cyanatrilate and such a compound will be brittle. This is bad. If during work I see that it is possible to glue a piece that has split off so that it is neat and not noticeable, then it's great. But with oil this will not work. Is that bad.
3. Oil very strongly attracts dust and small pieces of material. And in work it hinders. Especially when you need to work with small details. Garbage prevents you from seeing exactly where you need to cut it. And you have to work hard with a clean brush to sweep away such rubbish.
How to be, because oil has both pluses and ninus. Do I use it now? Yes. But not as before. If I see that I've got a place that hardly reacts to tools, then I smear butter only in this place. I do this almost dry brush and try to do it only where it is needed. I do not cover the whole figure while working. Only when the work is finished.
 

Reconstruction of decor and production of elements from wood.
 

I was asked to make drawings on a scale of 1:20. The full dimensions of the model 370 X 120 X 340 mm were obtained.
Only 8 sheets of A2 format in PDF format for self-printing in copy center. Preview sheets and a full-size drawing fragment for quality assessment is attached.
Who are interested - write in a personal.

3D model of botik (boat) St.Nicolas ( boat of Tsar Peter 1st) are finished. Accurate reconstruction from dimensional drawings and photos of real botik from Maritime Museum in St. Petersburg. Drawings are ready.

Very fantastic work.

For those of you curious about how an actual rudder was constructed, our resident 3D guru, Denis, has prepared these renderings for our Swan class model. These tabled joints would be very difficult to emulate on model (please give it a go Mark!) and virtually impossible to see unless you could actually visualize both sides of the rudder at the same time. When completed our 3D Swan class ship will offer a more complete (and historically accurate) treatise on contemporary ship building than the AOS series.

 

True that, Danny. Most of the features on the platforms and lower deck are not visible in our finished models. How cool would it be to show the photo below and say "this is what my magazine looks like"?

Denis has been busy building our 3D Swan class ship. It's very exciting when it all comes together, for example the aft platform view below from the main deck (photo below). When paired with The Fully Framed Model series of books I don't believe there will be another more thoroughly researched and illustrated ship model reference available.
 
 

I could tell you Wayne...but then I'd have to kill you! Seriously, our renderings are being done by a very talented individual in Europe. I have no idea what software or computer he uses and wouldn't understand even if he told me. But I honestly can't tell whether the photo below is his rendering or my model.