kurtvd19

There is also a lot of misinformation about true silver soldering.  For example, the mating surfaces need to be clean but they do not need to sit in vinegar or pickle prior to soldering.  What they need is perfect contact.  Silver solder will not fill in a gap.  In a lot of situations, it is better to gradually heat the entire piece rather than concentrating on the solder site.  This will help prevent the solder chip from flying.  Try laying the silver chip under the piece instead of on top.

I was told there will be no new books but I am sure Bob will continue to sell the remaining books on hand.  If you want any buy them ASAP.

I was told there will be no new books but I am sure Bob will continue to sell the remaining books on hand.  If you want any buy them ASAP.

I was told there will be no new books but I am sure Bob will continue to sell the remaining books on hand.  If you want any buy them ASAP.

I was told there will be no new books but I am sure Bob will continue to sell the remaining books on hand.  If you want any buy them ASAP.

I was told there will be no new books but I am sure Bob will continue to sell the remaining books on hand.  If you want any buy them ASAP.

I was told there will be no new books but I am sure Bob will continue to sell the remaining books on hand.  If you want any buy them ASAP.

Thanks Mike for the words of encouragement. This is my first scratch and I'm learning how to use my new tools especially the scroll saw, but you are right it's getting faster and not so much going into the scrape bin.
 
Just a brief update more to let all know I am still here working on frames in my spare time. Today I stepped "G" and cut and getting ready to assemble "H", "I" and "J" so tomorrow I'll be ready to step "H" since I can do one a day waiting for glue to dry.
 
A picture of the current status
 

 
I just realized this is the status up to "F". I don't know if I mentioned that I'm using 22 AWG bare copper wire and then blacken them with liver of sulfur which does not stain the wood. You can see the joints with the colored glue showing nicely to simulate the "goo" they used to seal the open ends of the frame pieces. I'm using Ed Tosti's method of using raw umber pigment powder mixed into Titebond II.
 
More in a coupe of days
Stay Well and Safe
Will 

I'd like to bring to your attention a few marvelous mahogany boats built by GPR (aka Greg R.). The build threads are on R/C Groups (links below), and indeed the models are operating, and built in the large scale of 1:8.
But they also stand as examples of the research that can go into such models, and the high standard of detail, which is NOT exclusive to a model being operable.
In each case, few or no plans exist for the subjects. Greg needed to visit the originals, work with current or previous owners, and then work out his own plans.
 
Folks who visited the Manitowoc show a couple years ago will have seen two of these models; Evangeline is new.
 
Evangeline, Henry Ford's Hacker
https://www.rcgroups.com/forums/showthread.php?2592838-Evangeline-Scratch-build-of-Henry-Ford-s-Custom-Hacker-Runabout
 
Lockpat II
https://www.rcgroups.com/forums/showthread.php?1875686-Lockpat-II-Scratch-build-of-a-custom-Hacker-Streamliner
 
Thunderbird
https://www.rcgroups.com/forums/showthread.php?1025991-Thunderbird
 

The Ketch-rigged Sloop
Speedwell of 1752
Volume II, Hull Details and Rigging
by Greg Herbert and David Antscherl
Distributed by: Sea Watch Books, LLC, Florence, Oregon
8 1/2” x 11”, hardcover, 184 pages, bibliography, index
ISBN 978-1-7320162-5-5
 
It is appropriate that, with Bob Friedman’s impending retirement, the final book being published by Sea Watch Books, LLC should be authored by David Antscherl and Greg Herbert.  These three gentlemen have teamed up to produce some benchmark references for our hobby.  Among the most noteworthy are the classic Swan series The Fully Framed Model, HMN Swan Class Sloops, 1767-1780, The Royal Navy Fireship Comet of 1783, and The Hayling Hoy of 1759-1760.
 
   The final offering, The Ketch-rigged Sloop Speedwell of 1752, Volume II, completes the treatise on a project that offers the modeler a subject that is attractive, less complex, and at 1:48 scale is of a reasonable size.  The book is broken down into three basic segments.  The first chapters discuss the final hull details and remaining fittings.  Although Herbert’s version is not painted, the opening notes provide information on a possible color scheme if you wish to paint your model.  The description is based in a fine example in the Royal Museums Greenwich (RMG) Collection. This model is one of the primary references used throughout the book.
    When researching a project, David Antscherl invariably discovers unique features about the subject.  One such item on Speedwell is the heads (privies) that are located within the forecastle.  Their unique shape and location are not seen on contemporary models very often.  Herbert’s approach for fabricating these pieces is noteworthy.
 
   Speedwell is a small vessel, but she possesses many graceful features.  Two of them are the stern lights with their pleasing pilasters, and the various ornate components that adorn the bow of the ship.  They include the cheeks, hair brackets, cat head supporters, main and lower rails, and those pesky head timbers.  Herbert goes into considerable detail, and makes extensive use of templates for all of these challenging pieces.
 
  
    The next segment deals with the carved works, and is discussed in great detail.  Arguably, this portion of Volume II, by itself, may be worth the cost of the book.  For such a small ship, Speedwell possessed considerable ornamentation.  The authors obtained a copy of a letter addressed to the Admiralty Board that carefully outlined the scope of this work and its cost.  The letter included a list of carved works with their overall dimensions.  It’s interesting to note that the information matched very closely the carvings on the RMG model.
 
   The authors start out with an explanation of the two different processes that are used when producing miniature carvings.  They are the subtractive process and the additive process,  The former version is as the name implies, the removal of material from a larger block, usually wood.
 
   The additive technique involves the use of a modeling clay that can be heat-hardened.  In addition to suggested brands, cautions are also provided when using this material.  One interesting recommendation is the use of maquettes or study models prior to creating the final pieces.
 
These are made from a non-hardening clay and can be up to four times the size of the final work.  The author feels that this helps improve the modeler’s perspective when working out three dimensional problems on the actual piece, both additive and subtractive.
    The final portion of this treatise is devoted to the construction of the masts, spars, blocks and rigging.  An odd feature on the RMG model is the tops.  Rather than the usual plank and batten construction, these are made with very coarse grating that features apertures that measure about 6” across.  Although  they appear  to be original, there is little doubt that they would have presented a safety hazard for topmen.  These unique pieces are included in the plans, and a method is provided for their construction.  However, Herbert opted for the conventional tops that were in vogue at that time, and he provides a detailed explanation for their construction.
 
 

   It is interesting to note that nowhere in this second volume do photographs appear of Herbert’s rigged model.  At the beginning of the final chapters that deal with rigging, David Antscherl explains the reason for this.  He states:
   “As our publisher is retiring (2020), we made the decision to complete this book before Greg was able to rig his model.  Therefore there are no photographs of this process.  However, much of the rigging is very similar to that described in Volume IV of the The Fully Framed Model, HMN Swan Class Sloops 1767-1780, and we refer you to that book.  It should be easy to follow the descriptions and illustrations provided in both volumes together with the accompanying rigging plans in this book to successfully complete a model.”
 
   The four rigging plans that accompany this book are all to 1:48, and are well done.  They are based on spar dimensions provided in a draught and the contemporary model of Speedwell in the RMG collection.  Antscherl states that the rigging was interpreted from photographs, and may be suspect in some cases since all the lines may not be entirely original.
    In addition to the plans, this final Sea Watch offering features 7 pages of color photos, an index and bibliography.  At a scale of 1:48, this treatise will produce a model with a modest overall hull length of 21 1/2”.  Add the massive bowsprit and jib-boom, and its length increases to over 33 inches.
   The Speedwell was a unique, yet beautiful ship.  Whether you are inclined to build her or not, “The Ketch-rigged Sloop Speedwell of 1752” Volumes I and II would be an excellent addition to any ship modeler’s library.  These books are highly recommended.
BobF
 
 
 
 
 

Rod:
I don't think those are water inlet ports both from the size and from where they are located.  Tanks tend to be on the perimeter of the hull with filling ports either against the superstructure or the bulwarks.  What I think these are from the size and location would be escape hatches from the engine room areas.  Tugs always have some sort of escape hatch through the deck - usually forward and aft.  This is my guess on the subject.
 
As to the Alice E model - it predates MSW by a bunch.  It was commissioned by the tug owners and resides in their corporate offices a few miles south of me on the Chicago Sanitary and Ship Canal part of the IL Waterway and the route from Lake Michigan to the Mississippi River.  No plans existed for the build but I was able to get on it anytime I needed and measured and photographed all the details - made the drawings necessary and built it up.  I attached a few photos of the actual tug - the stern towing bitt and the stack.  The photo of the Becky E is almost a sister of the Alice E (both started life as DPC tugs during WWII) but with the original pilothouse..  These are the few that I have scanned as the model was built when I was using my Canon F1's and film.
 
The two photos of the model tug - again from the days before I went digital - are of a model built on the same hull as the Alice E.  The tires were cast in Alumalite after making a master in Aluminum of one half of the tire - the ones used on the Alice E. were off 747's that were obtained from O'Hare Airport and nobody makes a 747 model in 1/2" scale to get a master tire to copy so the Aluminum master.  Easy to make as the tires have 5 grooves around the circumference with one centered making a perfect joint for the halves of the model tires.  Took 38 on the Alice E. tug, I don't remember the count on the other model.
 
Take care,
Kurt
 
 

The hull is painted and the rudder and prop mounted.    Few spots need a touch up, but in pretty good shape so far.     The upper roller for the jib furler needs a pickling bath before getting blackened.   The deck house is unusual (for me at least) in that it has curved bulkheads running fore and aft, thus the shape of the beams in the photo.  These bulkheads will fay to the inboard side of the fore and aft beaming, leaving a solid landing for the deck planking on top of the beams.   Based on the architect's drawings,  the top edge  of the red bottom paint is not perfectly horizontal.  It lies 0.25" above the water line aft. 0.20" above the water line midships,  and 0.38" above the water line forward.   The stripe follows the sheer line of the deck.
Allan

Rod:
I don't think those are water inlet ports both from the size and from where they are located.  Tanks tend to be on the perimeter of the hull with filling ports either against the superstructure or the bulwarks.  What I think these are from the size and location would be escape hatches from the engine room areas.  Tugs always have some sort of escape hatch through the deck - usually forward and aft.  This is my guess on the subject.
 
As to the Alice E model - it predates MSW by a bunch.  It was commissioned by the tug owners and resides in their corporate offices a few miles south of me on the Chicago Sanitary and Ship Canal part of the IL Waterway and the route from Lake Michigan to the Mississippi River.  No plans existed for the build but I was able to get on it anytime I needed and measured and photographed all the details - made the drawings necessary and built it up.  I attached a few photos of the actual tug - the stern towing bitt and the stack.  The photo of the Becky E is almost a sister of the Alice E (both started life as DPC tugs during WWII) but with the original pilothouse..  These are the few that I have scanned as the model was built when I was using my Canon F1's and film.
 
The two photos of the model tug - again from the days before I went digital - are of a model built on the same hull as the Alice E.  The tires were cast in Alumalite after making a master in Aluminum of one half of the tire - the ones used on the Alice E. were off 747's that were obtained from O'Hare Airport and nobody makes a 747 model in 1/2" scale to get a master tire to copy so the Aluminum master.  Easy to make as the tires have 5 grooves around the circumference with one centered making a perfect joint for the halves of the model tires.  Took 38 on the Alice E. tug, I don't remember the count on the other model.
 
Take care,
Kurt
 
 

Check the directions (page 12) - the rabbet is only needed on the last scale foot of the plank ends.  Sanding will work as shown in the photo from the instruction book (below).
 
However, the gains on this boat are different. Each is a sloping rabbet, rebate or recess, cut along the last scale foot or so at each end of the plank. This gain is a scale inch wide. You can measure this using the scale rule (page 7). Mark this distance on the edge of a paper strip, then transfer this measurement to the plank.
Carefully cut along the line with a sharp blade. Don’t press too deeply! Then shave the slope using a chisel blade in your craft knife handle. Make the deep end of the rabbet no more than about ⅓ the thickness of the plank. At the transom the planks fit as shown here (below right).

Eric:
Feel even better about it because I had absolutely no input on the selected images so the model made it without my positive bias toward riverboats.
Kurt

An adjustable drafting chair is what I use for the couple of different height tables/benches in my shop.

I had to make this same kind if fitting.  The steps I used are shown in the photos.



Small files were used to round off the square edges.  Polished and then plated.


 

Glad you resisted the urge to get a photo floating on the river

Glad you resisted the urge to get a photo floating on the river

Glad you resisted the urge to get a photo floating on the river

Glad you resisted the urge to get a photo floating on the river

One more update: I finally made the trip down to the Missouri River for a photo shoot along Arabia's natural habitat. I had hoped to do this close to her actual sinking date of September 5, 1856, but this is only a few weeks off so conditions look pretty similar. I shot this at Eagle Bluffs Conservation Area, about 135 road miles downstream of her sinking location near Parkville, MO (just upriver from what is now downtown Kansas City); she would have passed this location many times in her service along the river.
 
First, a reminder of the iconic painting used by the museum:
 

 
And here are my two best attempts to recreate the setting and angle (try to ignore the stand):
 

 

 
A few other shots at different angles:
 

 

 
Me with the model:
 

 
And for fun, a black and white shot as a what-if (she was never photographed, or at least no known photograph survives):
 

 
The river itself looks very different than it would have in her time. Back then it would have been a broad, shallow, multi-channelled river full of sand bars and tree snags, carrying a lot of sediment and generally brown, always shifting across its mile-wide floodplain between bluffs several hundred feet tall. Now, it's been channelized for navigation into a single narrow deep channel that never moves, flows a lot faster, and carries far less sediment due to upstream dams. But the shape of the landscape hasn't changed much and she certainly saw that small bluff in the background. There are much larger and more dramatic bluffs in this stretch, but none that can easily be accessed for a photo shoot in this context. But I hope this gives at least a slight idea of how she might have looked churning her way up and downstream in service before finally hitting that snag in 1856,

The color range of natural shellac runs from orange which, with multiple coasts, will appear dark brown. Shellac flakes are bleached to achieve varying darknesses ranging from "clear" on up. You can obtain flakes from mail order houses and dissolve them in your own alcohol, but buying premixed "two pound cut" shellac in quart cans is cheap and easy. (Most paint and hardware stores carry it. In the US the brand is Zinsser "Bulls Eye.") It comes in two types, "orange" or "amber" and "clear." For modeling purposes, the clear is what you want. If you wish to thicken it, simply take some out and let the alcohol evaporate. To thin, just add more alcohol. A quart should last you a long time. Brushes clean up with alcohol. I store my used brush cleaning alcohol in closed containers and start washing a brush by rinsing in the "dirtiest" jar of alcohol, then move to another that's a bit less dirty, and finally rinse in a jar of clean alcohol. As the alcohol in the jars gets progressively dirtier, it gets moved into the "next dirtiest" jar. I use the "dirtiest" used brush cleaning alcohol for adding back into the can of shellac to thin it as needed, or even, if there's enough shellac dissolved in it, I use it for when I want very thin shellac. You save a lot on alcohol that way and don't waste shellac, either. One can also always leave the "dirty" jar of brush cleaning alcohol open for a day or two and let the alcohol evaporate and yield shellac of a desired thickness. Shellac that is "molasses" consistency is sometimes used to good effect as an adhesive. Dried alcohol is easily removed by simply washing with alcohol. Shellac permeates the wood surface and does not produce brush strokes or raise the grain. It dries flat on bare wood, but with multiple coats, will build to a gloss finish. It sands easily to a very smooth surface. Shellac is an archival material. Three thousand year old shellac covered artifacts in good shape have been found in Egyptian tombs. And it's really cheap compared to other coatings on the market. It's non-toxic (aside from the denatured alcohol it's mixed in. Shellac is what is used to coat jelly beans to make them shiny. What's not to like?
 
Shellac contains a natural waxy substance that supposedly interferes with the adhesion of polyurethane and water-based (acrylic) coatings, although I've never encountered any problem applying oil-based finishes over dry shellac. If one is concerned about this, Zinsser also sells "SealCoat," a "dewaxed" shellac for use beneath polyurethane and water-based finishes. "SealCoat" is advertised as a "universal sanding sealer" for this reason.
 
(Don't waste your money buying shellac in a rattle can. If you don't want to pay sixteen to eighteen bucks for a quart, you can buy a half-pint for ten bucks.)
 
See: https://www.rustoleum.com/product-catalog/consumer-brands/zinsser/interior-wood-finishes/bulls-eye-shellac/
 

Chapter five.....fun!!!
 
This chapter begins with the cheeks/hair brackets at the bow so we can eventually drill those hawse holes.   We need to do that before we can continue working inboard.   Then we will shape the hole in the lower counter for the rudder installation.
 
So I began by trying to prototype some cheeks and even the headrails.   We wont need the head rails until much later but I might as well get the production and mfg methods developed.  I have done so and now I will assemble the one side of the cheeks.  Pictures are below.   When I add them to the starboard side I will take more step by step photos.   I just wanted to do the first go around entirely on the port side first.
 
It all went pretty smooth.  These pieces for the cheeks and hair brackets are composed of many separate laser cut elements.   I havent added the wash cant yet or drilled the hawse holes.  Many of these pieces are not even glued on yet.  Its basically a test run.   
 
But here you can see the fruits of my labor.  Many iterations of cheeks and head rails have been made over the last two weeks.  All of these laser cut pieces have been made from boxwood.  And of course more printed friezes for these thin details.  I believe it will set this project apart from other very simplified kits on the market.   Most look overly simplified and kit-like.  I am satisfied that these do not look like a kit even though all of the pieces are laser cut.  
 
Oh and of course I had to paint the stem areas black as shown, although you could go with blue between the hair brackets.....behind the carving. 
 


 
 

Try Krylon Premium Metallic - Original Chrome.  Works great.