amateur

We asked Ab in an other forum. He didn't had any intention to publish this book. It was done on request of seawarch, who specializes in interesting books with drawing for modellers. No market for that over here. Unfortunatedly, impoting books from the other side is a bit expensive.
 
with respect to all of these ships: there are almost no written sources, so these drawings are kind of reconstructions, starting from the few written sources there are (like builders ontracts), and art- drawings and paintings. 
 
That is also the reason that these drawings are more schematic than those of the statenjacht (and some earlier drawings of Emke). They are not intended as fully detailed drawings, but as a reaonably good starting point to build these ships: it is a drawing of a ship-type, not of a specific vessel.
 
That said: ask all your questions, we might have an anser for that.
 
 
The aft mast for instance, was in many case only rigged at low wind, to hold course, or even (especially fishing ships), to keep position when the main mast was lowered. So, at a fair wind, it was either not rigged, or had small sailsl. You can see that in many paintings of a related shiptype: the hoeker.
 
a famous drawing of the ship is this one by Reinier Nooms
https://www.rijksmuseum.nl/nl/collectie/RP-P-OB-20.523
 
 
Jan

What are you building: scratch, or kit?
In a kit, most parts are on the general plan, but also in much more detail in de separate plan. The need to have your drawings full size against the wall is less urgent in that case. In answer: I did my Prins Willem mostly on partly folded drawings. Only when I really needed the full scale general view drawings, I laid them out on the floor, did my measurements, and folded them again. (and yes, after ten years of folding and unfolding, the drawing has become a bit shabby)
 
Jan

Dear friends, here's the last part of the video series, you can also find in my tutorials previous parts. I must say, this is my older technology, now I have much better way, how to create sculpures and decoration in a higher level of details.
Thank you all for your feedback and "likes", I am pleased and very honoured you like my work. 
I will write more next week and  bring new pics from the progress. 

Best regards,
Doris
 

Two remarks on that: These sculptings would need flexible molds, as there is detail on the sides of them, and there are open spaces under the scrollwork. The castings would require severe detailing afterwards.
 
secondly: part of the atmosphere of this model is in the high degree of consistency, but also in the slight variations between the almost equal parts. I guess the model looses some of its charm by using castings.
 
Jan

Two remarks on that: These sculptings would need flexible molds, as there is detail on the sides of them, and there are open spaces under the scrollwork. The castings would require severe detailing afterwards.
 
secondly: part of the atmosphere of this model is in the high degree of consistency, but also in the slight variations between the almost equal parts. I guess the model looses some of its charm by using castings.
 
Jan

Two remarks on that: These sculptings would need flexible molds, as there is detail on the sides of them, and there are open spaces under the scrollwork. The castings would require severe detailing afterwards.
 
secondly: part of the atmosphere of this model is in the high degree of consistency, but also in the slight variations between the almost equal parts. I guess the model looses some of its charm by using castings.
 
Jan

Two remarks on that: These sculptings would need flexible molds, as there is detail on the sides of them, and there are open spaces under the scrollwork. The castings would require severe detailing afterwards.
 
secondly: part of the atmosphere of this model is in the high degree of consistency, but also in the slight variations between the almost equal parts. I guess the model looses some of its charm by using castings.
 
Jan

And spme of us happen to know some Dutch, so don't hesitate asking for a translation in the case google translate gives you nonsense

Hi Carl,
 
The material sold is coconut-fiber, and I understood that Marcus didn't like that material. Although I don't understand why, because these near straight fibers are scale-wise much better than these plastic bristles....
The same material is also sold as nesting material for cage-birds. I guess it is cheaper when sold as nesting material compared to scale building material
 
 
@Marcus: using anything thicker than the coconut-fiber is hugely over scale, and will (my humble opinion) not do justice to your mill.
Real thatching is just dried reed, about one-and a half meter long, and not more than 4/5 mm thick. anything thicker than 0.5 mm will be overscale.  The fun is that in a well thatched roof, the individual reeds can't be seen, unless you are a a viewing distance of anything within a couple of meters. I therefore understand the suggestion of using a kind of paste-like material applied with a coarse brush, and paint it afterwards in the correct colour.
 
Jan

And we'll be here
Or anywhere else where your building-activity pops up.
Gwen still not asking for Musi?
 
Jan

It was one of the difficult parts: the blocks are not heany enough to get the line sag naturally. I did not use the corel-thread, but something else (I think it was Amati), and far thinner than the Corel-line. 
I started from the bowsprit, next the running part to which the spider blocks are attached (without tying that one off to the stay). Next the 'spider part' working inside out, using clove-hitches to tie them to the stay.
 
next I have attached a small weight (paper clip) to the spider blocks, and have been tweaking endlessly with the running part to get thetension right. As soon as it looked okay, I have more or less fixed the whole thing, by brushing it with a diluted white glue. 
It took me at least four or five tries to get the thing more or less good, without overtensioning it, and having the stay pulled outward. And yes, I have been rerigging the stay-block to get more tension onthe stay... Both blocks are almost touchi g now, as Ineeded quite a lot of tension in the stay to have the whole looking OK. Problem was also that my spritmast tended to go backward, as I tensioned the lines. Delicate balance indeed.
 
Jan

It was one of the difficult parts: the blocks are not heany enough to get the line sag naturally. I did not use the corel-thread, but something else (I think it was Amati), and far thinner than the Corel-line. 
I started from the bowsprit, next the running part to which the spider blocks are attached (without tying that one off to the stay). Next the 'spider part' working inside out, using clove-hitches to tie them to the stay.
 
next I have attached a small weight (paper clip) to the spider blocks, and have been tweaking endlessly with the running part to get thetension right. As soon as it looked okay, I have more or less fixed the whole thing, by brushing it with a diluted white glue. 
It took me at least four or five tries to get the thing more or less good, without overtensioning it, and having the stay pulled outward. And yes, I have been rerigging the stay-block to get more tension onthe stay... Both blocks are almost touchi g now, as Ineeded quite a lot of tension in the stay to have the whole looking OK. Problem was also that my spritmast tended to go backward, as I tensioned the lines. Delicate balance indeed.
 
Jan

And we'll be here
Or anywhere else where your building-activity pops up.
Gwen still not asking for Musi?
 
Jan

And we'll be here
Or anywhere else where your building-activity pops up.
Gwen still not asking for Musi?
 
Jan

And we'll be here
Or anywhere else where your building-activity pops up.
Gwen still not asking for Musi?
 
Jan

And we'll be here
Or anywhere else where your building-activity pops up.
Gwen still not asking for Musi?
 
Jan

It was one of the difficult parts: the blocks are not heany enough to get the line sag naturally. I did not use the corel-thread, but something else (I think it was Amati), and far thinner than the Corel-line. 
I started from the bowsprit, next the running part to which the spider blocks are attached (without tying that one off to the stay). Next the 'spider part' working inside out, using clove-hitches to tie them to the stay.
 
next I have attached a small weight (paper clip) to the spider blocks, and have been tweaking endlessly with the running part to get thetension right. As soon as it looked okay, I have more or less fixed the whole thing, by brushing it with a diluted white glue. 
It took me at least four or five tries to get the thing more or less good, without overtensioning it, and having the stay pulled outward. And yes, I have been rerigging the stay-block to get more tension onthe stay... Both blocks are almost touchi g now, as Ineeded quite a lot of tension in the stay to have the whole looking OK. Problem was also that my spritmast tended to go backward, as I tensioned the lines. Delicate balance indeed.
 
Jan

And we'll be here
Or anywhere else where your building-activity pops up.
Gwen still not asking for Musi?
 
Jan

And we'll be here
Or anywhere else where your building-activity pops up.
Gwen still not asking for Musi?
 
Jan

And we'll be here
Or anywhere else where your building-activity pops up.
Gwen still not asking for Musi?
 
Jan

And we'll be here
Or anywhere else where your building-activity pops up.
Gwen still not asking for Musi?
 
Jan

And we'll be here
Or anywhere else where your building-activity pops up.
Gwen still not asking for Musi?
 
Jan

Hello to all the following group, and everyone who looked in.  Thanks for the many likes and compliments, and especially for the comments and critiques.  I will try to keep up the level of work.
 
This will be a short post, despite the month since my last one.  I took on a restoration project that was time sensitive, so I had to put the Michelangelo on the siding while that train went through.  The major work this time was on the cargo cranes that sit on the forward deck.
 
Here is the section of the plans for the cranes, lacking a lot of the details that can be seen in the two photos of the uprights.  As you can see, they are not the simple posts that many are, but have numerous fittings, rings, winches and flat blocks.  Notice particularly the three spotlights hanging from horizontal supports.
 

 
Each element was reproduced as closely as I could, given the small scale of the model.   The post and the booms were assembled from telescoping brass tubes with the top of the post turned from a small piece of hardwood dowel.  The boom pivot fittings, rings, winches, and the light supports were cut from styrene.  The lights themselves are small drops of epoxy on wire posts. 
 
The biggest problem turned out to be the cable blocks.  In the close-up you can see why.  The set consists of two upper single blocks attached to the post.  Attached to them is a smaller single block on the inner side, with a double block for the outer, heavier boom.  Note how flat they are.
 
I tried numerous ways to reproduce them without success.  They are just too small for my abilities.  I tried punched plastic discs, but could never get them to line up right, and attaching them to the post and to each other was impossible.  Cast metal blocks were better, but the attachment lugs broke repeatedly. Ultimately I settled on 2mm wood blocks that I am used to working with from sailing ship rigging.  Once painted white I think they came out acceptably.
 
The cables are 0.006” polished black thread which contrasts nicely with the dominant white and tan color scheme.  The final touch was to give the spotlights a touch of silver on their bottoms to represent the bulbs.
 
I can see that there are some paint chips and railing sections that got bent by my clumsy fingers while working on the cranes, and these will be addressed before the next posting. 
 
Until then, be well.
 
Dan
 
   
 

Hi Piet,
 
I guess this is the end of your tweaking? Or do you still see room for improvement.
Judging by the pics I think you have nailed it: Ship, water, smoke, action. Great model.
 
Jan
 
 

Art in a bottle!
 
Jan