Louie da fly

Hi to any moderator out there. I was looking to refer a new guy to the instructions on how to start and name a build log for a ship model kit, and I couldn't find them. The ones for a scratch build log are still there, but the ones for kits seem to have vanished. Could they be put back, please? They are a very valuable resource. Thanks, Steven

Welcome John, from sunny Ballarat! Where are you based? That model looks like a food good [dammit!]lead-in. A bit of planking but not too much or too complex. And various fittings to give you some practice in skills which will serve you well in subsequent models. I'd say go with that one, and start a build log, under BUILD LOGS FOR SHIP MODEL KITS. The instructions for how to do that used to be there, but I don't seem to be able to find them. But follow the same sequence as with scratch builds, https://modelshipworld.com/topic/8-before-you-post-your-build-log-please-read-this-starting-and-naming-your-scratch-build-log/ just put it in the kit section. A build log is very good for getting help and advice, asking questions etc. The people here are friendly and very helpful. And we get to see your progress and some nice piccies. And have fun with it. Steven

Tom, I just answered a question you'd put up in 'Masting, Rigging and Sails' back in November regarding the presence of reef points on the sails of Viking ships. It doesn't really apply now you've finished the model - I wish I'd noticed it earlier - but you might find it of interest. Steven

Regarding reef points. As far as I know there is no physical evidence and no contemporary representations of reef points on Viking ships' sails. There are, however, representations of other means of controlling the sails. I find this one particularly interesting: which is backed up with three of similar type but simpler: There's a modern interpretation of how that would have worked at https://vikingar.historiska.se/object_details.php?object=A073A34E-2719-4C7F-BAAD-4B681453D2CA&e=&l=en And here are some more representations of sails (the paint on the last one is modern), but not a lot of help in determining how the sail worked: https://i.pinimg.com/236x/92/10/f6/9210f65d03c07b188236eea760be023b.jpg Yes, reef points did exist in mediaeval times - in fact they were superseded by bonnets in the 15th century, which in turn were superseded again by reef points (of a different design) about a century later. There's a discussion of mediaeval reef points at https://modelshipworld.com/topic/25641-the-elusive-hulc-by-woodrat-finished-132-plank-on-frame-a-speculative-reconstruction-of-a-mediaeval-merchantman/page/6/ - but the earliest record I have of them is the seal of la Rochelle c. 1200, Hastings of "13th century" and Dublin of 1297 So to answer your question, no evidence for reef points on Viking ships, but some other very interesting rigging ropes which I would dearly like to be able to figure out as to how they worked. And the coin pictured above shows they seem to have furled their sails using brails, but no evidence as to how they shortened sail. Steven

Beautiful work, Dick. And those dagger knees are an eye-opener. Steven

Very nice work, Doug. Looking very good. As I mentioned earlier, I chickened out on adding netting on my own Great Harry, but I found gauze at a fabric store that would have done the job nicely. You know, the stuff that goes on bridal gowns etc. Might be worth checking out. Probably synthetic, but what the hey. I chose black, firstly because the original stuff was probably tarred, secondly so it didn't grab the attention too much away from the rest of the ship. Probably on what is known as a pavesade - basically just a railing that holds shields. They were probably tied to the rail by a rope passing through their enarmes (the straps at the back that you hold the shield by). That's certainly what I did with the shields on my dromon build, and it worked fine (though you have to make sure you get the alignment right). Steven

Nice save. Steven

Good to hear from you, Keith. Because of my own speciality of interest, I rarely look at other time periods so I didn't realise the other stuff you were doing. I fully understand putting the 'carrack' on the back-burner, though. It allows you to concentrate of the things you really want to be doing. Happens to me, too. Best, Steven

I'd lost track of this thread. Are you still out there, Keith? Have you done any more on the model? Hope all's going well with you. Steven

I second that. I've been following along and it'll be good to see her progressing again. Steven

I couldn't agree more. Such a beautiful ship. Steven

Nice work. Slow but steady progress. Steven

Great footage, Mark. Good to see the budgie smugglers getting an airing, too . . . 😁 Steven PS: I used to live a short walk from the beach at Coogee. Nice memories.

Yes, to reduce leeway when the ship can't have a deep keel because it works in shallow waters. Here's a Humber keel using one (thanks Lightflite!) - check out from about 20:15 onward. Steven

Better, certainly. Walnut's better than pine, but still not my first choice for carving. See if you can get hold of some fruit wood. It's worth it. Though I have to say that's one pretty Duyfken! Steven

That's all looking very good, Doug. I like the paintwork, very neat. And you have the narrow white stripe between the red and the yellow. Very nice. That works nicely. Arches seem to have been a bit of thing at this time, so I think you've got a pretty good justification for it. Oh, do it if you possibly can. You do know they've actually found the original, don't you? https://maryrose.org/artefacts/emblem-figurehead/ If you're worried about carving it, don't be. That's just a matter of practice. And using the correct wood (fruit woods are nice and fine grained - pear, apple , cherry. Or better still English box - buxus sempervirens - that's amazingly good). Have ago! Carving can be very rewarding and fulfilling (and addictive if you're not careful!) No, there's no need. I made the mistake of not even including the decks at all in my Great Harry (hey, I was seventeen - I didn't think ahead far enough) and had terrible trouble supporting the cannons inside. I had to do all kinds of dodgy work to make it happen. Never again. But there's certainly no need to have planking on a deck that nobody will every see. Very nice. Yes, that's a bit of a mystery. I don't think it's an open railing, which was the first thing that came to mind, as it doesn't continue around the stern. But the transom is not the same as the sides - it has to be solid to support the spar that takes the lateen sheet, so maybe that is an open railing after all. But yes, there is a narrow line of stripes above it. Perhaps a broad, painted top rail? I know McElvogue has shown a wooden support structure in his book, but I'm pretty sure that's speculative - I don't think anything was actually recovered. But I'm pretty sure the remnants of netting he shows are the real thing. I'd say, however, that his idea is practical and is quite probably what was done. Have a look at the "boarding frames" - that is, sort of pergola things that served the same purpose on earlier carracks. McElvogue's design is similar, but with the 'rafters' further apart, which would be sensible as the netting takes the place of the intervening rafters to act as a barrier to boarding. The main issue I had was - how do you deal with the problem of belaying all your rigging lines if a boarding netting is in the way? They normally belay either to the side of the ship or close to the relevant mast, and it's probably possible to work it all out. But you'd have to think it through well in advance so as not to paint yourself into a corner. To be honest, I had been planning on a boarding netting on my Great Harry, but I chickened out - it all seemed too difficult. Though that was at 1:200 - yours at 1:80 shouldn't be as hard. Steven

You're using the wrong wood, mate. You've actually done a very nice job - the little dove looks good - the talent is there but that woodgrain is far too coarse for this kind of fine work. Get hold of some fruit wood - pear is good, apricot is better. If you really want the best wood for fine carving, get hold of some English Box (buxus sempervirens) - it's incredibly fine and wonderful to carve. And keep on practising. If you're not satisfied with it, have another try until you are. It's worth the extra work to have something you feel good about. Steven

Beautiful work, Olli. High quality and very precise work. And her beautiful lines are now starting to become even clearer. Steven

I love watching your work, Patrick. That forecastle is looking magnificent. And very believable as a practical piece of 'equipment'. Looking forward to your shields. As someone who's used shields in re-enactment combat and made quite a study of them, if you want any help with their historical accuracy, feel free to ask. Steven

Yes, my experience with oak was instructive. I knew the issues regarding grain, but the pieces I had seemed to be considerably finer than the usual run-of-the-mill oak you see around the place. But even then it turned out to be too coarse for the work I was asking it to do. I agree about fruit woods. My previous models have used (mostly) walnut and sometimes pear for finer things like deck furniture, blocks etc. I've discovered that apricot wood is finer grained than pear (we cut down an apricot tree in our garden - it was being attacked by some sort of parasite and couldn't be saved, but the wood was ok). And we cut down a big plum tree in our garden as well, and I got the wood, but I haven't tried using it yet. Yes, green oak is far easier to work, and in fact I've seen freshly cut oak used - for example in house building (I watch Grand Designs) and in the replica of the Sutton Hoo ship that's under construction at the moment. By the way, you think oak is hard and tough, you ought to try working with some of the Australian hardwoods! Karri in particular is incredibly tough. Steven

Reinforcing the joints between the keel and the stempost and sternpost. I drilled holes through the joints then inserted bamboo pegs. It made the joints much stronger - I don't have to worry now about snapping them off in a moment of inattention. I've started carving the rabbet, but the oak grain is really not fine enough to do this well, and I'm considering starting again with a different timber, perhaps walnut or plum, which will take the rabbet better. Steven

Very appropriate. What the Vikings would call Orm - a "worm" (serpent/dragon). At the battle of Svolder King Olaf Trygvasson had a longship called the Serpent (Orm) and another, bigger one called the Ormurin Langi (long serpent). Steven

Interesting thought. To me it looks as if the two at far left and far right are level with each other, both at the front corner of the 'cabin', and the rear one is at the back corner (starboard), but that leaves the question 'where's the one for the port back corner?' Or it could just be that he bunged flags wherever he could fit them. I dunno. Up to you, mate, whatever you feel is right. It's your model, after all. Best wishes, Steven

Keep in mind that these reconstruction drawings are modern interpretations, and I for one can't see any evidence to justify these 'prows'. I like your way of doing it far better. I think the angle of the bowsprit looks far closer to the Anthony Roll depiction than those of the two modern reconstructions. So go with it. The height of the bulwark above the deck - one metre - is what is specified here in Oz for any structure such as a railing on a raised floor/balcony etc. So I think you're on the money there. The triangular 'cabin' surprised me a bit. I would have thought the Anthony Roll shows the walls parallel to the sides of the forecastle. But this is very open to interpretation, and I'm by no means going to say you're wrong in doing it this way. Overall, I'm gobsmacked. You're doing a beautiful job! Steven