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    North Shore, MA

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  1. Hi Tim! Great to hear from you, and looking forward to getting together with everyone when the plague has finished its rounds. Thanks for the offer - any info is helpful, and multiple angles are always good to see. One of the interesting problems with this model is that there is so much information out there. I'm going with the Fisher plans for the most part, even though they are only one snapshot of the ship. Roger's point above is a good one - the lines don't match the configuration she has now, when we sailed on her a few years ago for the turnaround cruise.
  2. Thanks, Jaager. It really is a challenging scale for this model, at least for me. There's a reason I'm using Douglas Fir, even though it's not the optimal for this purpose. I have found that Cherry, Maple, and Mahogany are all well suited to carving half-hulls, provided the piece is free of defects, and your glued-up blank has grain lines running in the same direction. Thanks for the recommended links! I will definitely check those out.
  3. Well, it's certainly been a while on this one. So long, in fact, that I think I made significant (and unreported) progress on the new, solid hull blank. I put it away about a year and a half ago, when my business really started taking off. Surfaced this the other day while reorganizing the workshop: It's pretty close to the dimensions it should be. Which leaves me to reconsider my plan for the keel, sternpost, and rudder post strips underneath her. I have decided not to do the railing details on top. Leaning in to the historicity of half-hulls as builder's tools,
  4. You could also try tinfoil underneath the model - that way you can hear the "ping" as it drops.
  5. If at first you don't succeed as a wooden model shipbuilder.... at least your efforts are combustible. And there's something to this idea of learning from failure. As it turns out, the Harvard Business Review once published some great articles on that subject. I had some time on Saturday, so I sat down with the AJ Fisher plans, the Chapelle plans, and a very strong cup of coffee. What I realized, after carefully checking the hull to the plans, is that I had taken off far, far too much material in the transom area. You can see this when I compare the hull to the second to top lif
  6. You nailed the colouring and proportions to a “T”! Glad the trip was enjoyable, and I’m sure it’s more enjoyable to sail when there’s no incoming fire from shore.
  7. Thank you! Yes, the thickness sander built for instrument tops, backs and sides works well on wood for scale models, too. As does the feeling of being completely out of our depth at many stages of a project. My biggest gripe with the Fir is that even finer tools tend to rip out wood between the annular growth. The difference in density between the rings and softer wood between makes it tough to work with cutting tools. With it being painted, I think poplar would be a good choice, but for some other constraints that require Fir for this one.
  8. Thanks, Rob! I appreciate your insight. While I hope to keep her hull as close to the plans as possible, having some ornamentation like chain plates, deadeyes, trailboards, quarter galleries, etc, might make up what she'll be lacking in perfect lines.
  9. A friend at the ship club resized Chapelle's plans for the President to 1/192 for me, and the reference information is valuable in adding details to the AJ Fisher plans. At times, they disagree. For instance, I am currently working on the profile of the half-hull at the stern. Notice on the Fisher plans that the hull line which meets the sternpost actually arcs towards the keel, whereas it is straight on Chapelle's. Differences like this help me make more conscious decisions. Little by little, I'm finding that the reams of information on this ship can be used to
  10. After some preliminary carving, it was time to mount the model to a temporary backboard. This allows me to secure it in a vise for carving, and carve right down to the rabbet line, etc. Good 'ole 3/4" plywood fits the bill nicely. I sanded it flat so the half-hull will sit on it in the same way as the intended mounting board. On the backboard, I can use a square to make sure my templates are hitting the hull parallel. By aligning them with the right lift, I can ease them down until they make contact. Then it's the same process as described above: mark with a chalk pencil, and
  11. Thanks, Pete! That's really kind. There's a fellow in our local ship club who uses cedar wood bases - very strong grain - and embeds the models in the dyed wood to give that very effect. This is inspired by that, and I'm glad it works to some extent. The inside scoop on the woods is that I completely fouled up the lower part of the model while carving. I ran it through the bandsaw to create a "waterline" of the mahogany, and then added the walnut and tried again.
  12. Carving the Hull On the three previous half-hulls I have made, I have essentially glued up blocks of material. I use a bandsaw to cut the sheer, the outline as seen from the top, and side profile of the hull, and then hog out the mass of material until it gets close to the station lines. There is far less mass of material to move here. And what is there to remove seems to love splintering under the chisels and gouges. There's a reason not many models are made from Douglas Fir, it appears. To carve, I hold the template up to the side of the hull at the correct statio
  13. Gluing Up the Lifts Using the station lines from the lift templates, I transferred station line numbers to the sides of the wooden stock as I traced the lift outlines to each one. Lifts are lettered A-I on these plans. The astute observer will note that this novice has already made his first serious mistake - the stern of the ship was meant to the on the left side of the mounting board, as per this page of the plans. Ooops. For the next one, I can reverse the lifts to orient it correctly, as you see below. Also, I was not satisfied with the fit of lift "C" - the
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