Landrotten Highlander

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Hi friends,
thanks for the kind comments and likes.
New pictures of the 74 gun-ship.
Karl
 
 
​T e i l  10
 

The next decision was how much planking to show on the forecastle.  I decided on sufficient planking to support the fore jeer bitts, leaving the rest of the deck unplanked.  The planks run the entire length of the forecastle deck, tapering slightly stern to bow.
 

 
The fore jeer bitts are bolted onto the deck.  The location varied among the different Swannies.  On Atalanta, the crosspiece is on the fore side of the standards and there is only a 9" gap between it and the foremast.  On Fly, the crosspiece is on the aft side of the standard.  On Vulture, Dan Vadas states there are no standard because of the width of the hatches.  The standards are bored for a 7" diameter sheave.  There is also a cheek block with another 7" sheave, similar to the fore topsail sheet.
 

 

 

 

 

 

 
Since the next step is adding the eyebolts at the foot of the foremast, I decided to apply the wood finish to the forecastle structure and fore jeer bitts.  It is amazing what a difference that makes.  
 

 

It has been a while since my last postings.  Summer is always very busy and leaves little time for modeling.
 
I built the forecastle hatch coamings and gratings.  These are made like the ones on the upper deck except the scantlings are all smaller.  When making hatch coamings, it it much easier to build the grating first and make the hatch fit the grating.  Needless to say I made two sets of hatches.  
 

 

 
Before there was any more detail to knock loose, I decided to apply the horseshoes and dovetail plates.  These are from Greg's photoetch set.  They were cut off the sprue and their outline was drawn onto the hull.  Using an 11 blade, I make a light impression just inside the pencilled outline.  Then I cut away the inner area with a 3mm chisel.  The bolts are blackened brass wire.  I enlarged the holes in the plates to a 75 drill bit to accomodate the wire.  The plates were then epoxied to the hull.
 

 

 

 

 

 

 
I will be applying minimal planking to the forecastle deck.  The waterway was made by taking a template of the outline of the bulwark and then cutting out a piece of costello to fit.  The rebate was hand cut.
 

Hi Kuya,
judging by your post I am assuming Enlish is not your first language?
As I read it you are asking our opinion on staining wood?
 
If you want to have the wood resemble (= look like) the woods used in the construction at the time, you need to think about what each wood looks like when freshly cut, but also what it looks like after so many months at sea.  There will be a marked (= important) difference.  Freshly cut wood is lighter in colour, while wood that has been exposed to salty sea are will look darker and more grey in colour.
 
If you want to stain your wood for visual appearance, than artistic sensitivity (or feel) is more important than attempting to get the correct hue (= shade of colour).
 
For each option, trying different stains out on bits of spare wood will allow you to see how the stain reacts to the wood (= what is the exact colour). 
You may have to mix stains to get the exact colour you are wanting.  Leave the stain to dry for a few days - my experience is that some stains have a slightly different look after a few days (expecially if they get exposed to sunlight).
The same with using things like Miniwax.  Try it out on scrap wood. then you can make up your mind as to what you like most.
 
Hope this helps.
Peter

370 Hour Mark!  I have reached a milestone - the hull is now fully framed, ok, I still need to do the four filler frames along the stern deadwood on each side, but hey, I'm almost there...
 
I have faired the hull using a combination of curved rasps to know down the high spots and smooth rasps for the detail.  I then resorted to an oscillating palm sander with 80 grit paper to take out the heavy scratches.  I have a few frames that I sanded through to the chock...  I am debating about replacing these frames, but think the repair might be worse than what is there now.  I think  a few of these chocks can be hidden with planking, etc.  There are some small seem gaps here and there that I will fill with glue and sawdust.  Otherwise, things are exceeding my expectations.
 
Overall, I am exceedingly happy with how things turned out.  Next to do in this order are:
Filler frames Refinement of the hull along the rabbet Treenail the chocks Copper bolt the frame feet Add the keelson Finish sand the hull 120, 340, 600 #0000 Steel Wool "point" each of the frames.  Making each frame butt sharp and even. Install a temporary sheer strake Finish the top timbers (remove spacers) Install the ribbands Apply finish to the lower hull The above list will easily take me right up to the conference in October.  I estimate about 75 hours work.
 
Things I would do differently next time is to be more careful with my spacers.  While temporary, I think they should be installed very neatly and relatively in the same location on each frame.  You will live with these for a long time and they distract from the model when sloppy.
 
Also, I would wait to install the main frame spacers, which are permanent. I made mine from Holly.  While the drawings give a great reference point for these spacers, the subtle change in angle or position of the frame can change the location on the completed model.  I will redo some of these so that they run in a fair line when looking down the hull.
 
Thanks for reading!
 
Gary
 

So if we see a sharp rise in the cost of all things Syren, we'll know why!

No sweaters for me.
 
The agony.....besides my toothache.....its whether to gild or not???
 
I am leaning towards no gilding.  I do like it but its  just me.  It also shows every last surface pimple and carving screw up.   But it is a royal barge.
 
I think I like the way the carvings look with just WOP applied.   Which means I must carve another queen Anne cipher.   Oh well!!  The close-ups are also brutal....the smaller image looks more like the gilded example in reality.  It looks rather nasty in that large photo.
 
Chuck
 

 

 

 

I've built some small stuff, and tried out different methods for coppering the hulls. When drawing the planking pattern of the decks, I decided to follow in both schooners the pattern of La Topaze (based on the contemporary model in Paris. The plan of La Mutine shows more, even narrower planks). 
As a historian I have to deny that the plan of La Mutine is "proof" of her actual appearance. Proof would require corroboration sources, such as a "devis d'armement", a document that describes dimensions and details and is part of the contract with the builder. I don't know whether the archives of Lorient dockyards survived WWII, but that's where such a document would be. 
But I think it can reasonably be assumed that her appearance as shown in the Atlas du Génie maritime, an official publication, could pass the scrutiny of critical eyes at the time. There are details open to interpretation or even missing, but in general it should be correct representation of a schooner of its type. For my project, thats enough.
 
Here's what they are looking like at the moment:
 

 

 

 

 
The pattern on  the plank over Mutine's capping rail was laser printed after I found paper of the correct colour. As always, several attempts had to be made...
 

 

 

 

 
The copper tiles are made from self-adhesive copper tape. In France, they were bigger than in England or Holland, and in 1:64 they are 25 x 8 mm. On a french ship, you start at the stern a bit above the waterline.
Cheers,
Gregor
 
 
 

hello giampieroricci.
thank you for your comments.
to make the barrels, I use wedge cut wood and held together with colablanca. mixed with bitumen, so that the connection between the boards is visible.
a greeting. cabrapente

Boxwood carving for the barge in progress.  Using a #11 blade.   Its half done.   Left side shows the laser cut blank while the right side is almost there.   The blanks are glued to a piece of scrap with elmers glue.  In this case I just used a glue stick.  Make sure its really glued down good.  Especially the ends of the thin parts that are susceptible to breakage.  I sandwich the glued up piece with another scrap sheet and clamp them together so the piece stays flat and doesnt curl up. The blanks are just 1/32" thick and sandwiching keeps them flat so all the surfaces glue up nicely.   Leave them overnight to dry really good.....now you are ready to carve.
 
The finished carving is removed from the base by just dumping it face-first into a bath of 90% rubbing alcohol for 5 or 6 hours.  They usually just fall right off the base.   Let them air dry and you are good to go.
 

 
When you dont have lots of time to spend on the model its good to keep these carving blanks around the shop.  You can easily spend a half hour or 45 minutes doing a little at a time.  There are nine such pieces in this kit that will need to be carved.  But dont worry .....a resin casting kit will be available for those who dont want to carve them or give this a try.  But I urge to to do so...its a lot of fun and addicting.   The guys in the club cant get enough of them to play around with.
 
Chuck

Thanks steamschooner and Michael
 
Michael,  It's good to hear from you again.  I hope you had a great time while you were away.  I've missed your posts and look forward to seeing you back at it!
 
 
I spent all of this last week finishing up the bunks and interior planking.  I still need to add the rails to the bunks and my wife has volunteered to make all the mattresses.  I've started on the windows -- just the interior side of the frames.  I'll add the mica and outer half later after the walls are painted.  This makes it easier to paint the exterior frame before installing it.
 
 

 

 

 
 
Close up of three completed window.  I really like the effect of the mica - Thanks druxey for suggesting it.

Thanks for the kind words,
and for the LIKES.
In the meantime, I made the shot garlands for 18 pounder and 30 pounder.
Here are the pictures :

 

 

 

 

 

From what I understand, the better wood to use in model ship building is of the fruit-tree type (pear, cherry).  There are those that swear by expensive wood used for museum quality models, but I have worked with beech as I was able to obtain a fair amount of 6mm boards for a cheap price.
The grain is a bit coarse, but at 1/48 I feel it does not bother me as much as the grain in say pine would do.
 
Having said that, I am in regular contact with an experienced builder who has used pine, and now prefers to use lime wood for all his ships.  I have worked with it, feels softer than beech but works really easy and can be stained to look like any wood you choose.  As I understand it, it is also one of the cheaper options available.
 
Try to avoid anything too soft, cush as e.g. balsa.  It tends to splinter too much - or so I am led to believe.
Hope this helps
Peter

It has been a while since I used an airbrush.  One thing I still do - even if using burshes only - is the following:
 
I first paint a 'basic coat' - usually a matt gray - to highlight any imperfections.  Repair, then repaint.
 
Once I no longer have any imperfections I paint a 'base colour' in an easily found and not too expensive brand (can be the regular DIY paint, as long as it does not attack the model material (particularly important when dealing with plastics)).  This 'base colour' is of a shade as close as I can get to the eventually desired colour, and heavily diluted so I can apply very thin layers at the time while allowing each layer to dry completely.  I do this until I have an even coverage across the specified area.
Only then will I use the (relatively expensive) model paint it in the exact shade.
 
So for your red I would chose a DIY paint in a medium red shade (not too dark, but not too bright either) so you have an even coverage.  Then - usually in one or two diluted layers - I would use the model paint to obtain the exact shade.
 
It is a technique I picked up from figure painting (i.e. model 'tin soldiers' aka Pegaso or Andrea Models).  1st base coat, then the medium tones, then improve the 3D experience by painting shadows and highligths.
 
Hopes this is of use to you
Slainte
Peter

19 AUG 2016
 
Completed the shaping of the stem assembly.
Chiselled in along the lower/middle/upper stem post to get the relief depth then sanded to shape.
Then did the same to the knee of the head and extension as it is narrower yet again.
Did a little damage on the edge of the filler pieces with the last step.
A little cleanup to be done on her... a few passes with finer grade paper and a tack cloth.
 



 
I have yet to add the cutwater strip to the stem assembly and the last pieces of the rising wood on top of the keel.
Then I will start building at the stern, adding the transom pieces.

Nice tutorial on pre-carving preperation. That last photo is an unknown form of display, not seen before in your 'atelier'...

Preparation of the blanks of the cornucopia and the blank for the figurehead
Even if I could use a boxwood blank as the rules stipulations, I will not use it. For this model,  cherry  wood is almost the only wood used.The main idea at the beginning was to create a homogeneous wood color for this model. I have a blank of apple wood. I will try carving this kind of wood to see what kind of results are possible. Next step, this autumn, carving the blanks.
 

From what I understand, the better wood to use in model ship building is of the fruit-tree type (pear, cherry).  There are those that swear by expensive wood used for museum quality models, but I have worked with beech as I was able to obtain a fair amount of 6mm boards for a cheap price.
The grain is a bit coarse, but at 1/48 I feel it does not bother me as much as the grain in say pine would do.
 
Having said that, I am in regular contact with an experienced builder who has used pine, and now prefers to use lime wood for all his ships.  I have worked with it, feels softer than beech but works really easy and can be stained to look like any wood you choose.  As I understand it, it is also one of the cheaper options available.
 
Try to avoid anything too soft, cush as e.g. balsa.  It tends to splinter too much - or so I am led to believe.
Hope this helps
Peter

It has been a while since I used an airbrush.  One thing I still do - even if using burshes only - is the following:
 
I first paint a 'basic coat' - usually a matt gray - to highlight any imperfections.  Repair, then repaint.
 
Once I no longer have any imperfections I paint a 'base colour' in an easily found and not too expensive brand (can be the regular DIY paint, as long as it does not attack the model material (particularly important when dealing with plastics)).  This 'base colour' is of a shade as close as I can get to the eventually desired colour, and heavily diluted so I can apply very thin layers at the time while allowing each layer to dry completely.  I do this until I have an even coverage across the specified area.
Only then will I use the (relatively expensive) model paint it in the exact shade.
 
So for your red I would chose a DIY paint in a medium red shade (not too dark, but not too bright either) so you have an even coverage.  Then - usually in one or two diluted layers - I would use the model paint to obtain the exact shade.
 
It is a technique I picked up from figure painting (i.e. model 'tin soldiers' aka Pegaso or Andrea Models).  1st base coat, then the medium tones, then improve the 3D experience by painting shadows and highligths.
 
Hopes this is of use to you
Slainte
Peter

From what I understand, the better wood to use in model ship building is of the fruit-tree type (pear, cherry).  There are those that swear by expensive wood used for museum quality models, but I have worked with beech as I was able to obtain a fair amount of 6mm boards for a cheap price.
The grain is a bit coarse, but at 1/48 I feel it does not bother me as much as the grain in say pine would do.
 
Having said that, I am in regular contact with an experienced builder who has used pine, and now prefers to use lime wood for all his ships.  I have worked with it, feels softer than beech but works really easy and can be stained to look like any wood you choose.  As I understand it, it is also one of the cheaper options available.
 
Try to avoid anything too soft, cush as e.g. balsa.  It tends to splinter too much - or so I am led to believe.
Hope this helps
Peter

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17 Aug 2016
Summer has kept me otherwise occupied and I haven't gotten much progress on my build in over a month... however on the plus side it hasn't rained much so the grass didn't grow and so did not require mowing!  (But the flower gardens needed watering and my water bill was enormous).
 
Earlier this month we went to see the live musical thriller Sweeney Todd at the Shaw in Niagara on the Lake ( http://www.shawfest.com/playbill/sweeney-todd/) ... not quite enough blood in the show but we enjoyed it non the less.
 
Regarding my build.
I must say sanding two curved pieces to mate near seamless is a art I've yet to master.  I am much better now than I was a month ago but there still is much room for improvement.  I suppose my frames will make or break me.
 
I managed to get the aft most keelson piece (over the deadwood knee) sanded to match fairly well.
 


 
Then I work, and re-worked and re-re-worked the stem assembly.
In the end I had all pieces dry fitted to what I thought was acceptable.  Then I started gluing to the keel and upwards.... re-re-re-sanding one more time to as imperfect as I could possibly manage.  I don't necessarily want it to be seamless as the actual builds weren't but I do want it to be a little better than where I am.  The problem is that until you've mastered it you end up chasing your tail and eventually screw up totally and find you've just made more scrap.  Knowing when to say enough is enough is another talent I'm working on developing.
 
 Here is my progress to date.
 

Another update on this project.
 
Alexandru