clarkt

I have also wondered about custom laser cutting, but of sheet brass rather than wood. I'm thinking particularly of preventer links for the chains (on deadeyes) and swivel gun yokes. But if I was making an order I could probably think of other parts. Are such services available?

I built a model of Victoria, based largely on the plans for Santa Maria in Xavier Pastor's "Ships of Christopher Columbus" in the Anatomy of the Ship series, but with some significant alterations. According to my research, the stern construction had changed from the "stern tuck" to a transom style. There was a substantial main topsail and a fore topsail. (Elcano's log records that the fore topsail was carried away off the coast of West Africa on the last leg of the circumnavigation.) The ships had cressets, rather than lanterns on the stern. A boat on the Victoria normally had a crew of twelve. These are some of the best items I found while researching the ship, in S. E . Morison"s "The Great Explorers," J. H. Parry's "The Age of Reconnaissance" (Parry has written several good books on the subject,) Joseph Wheatley's "Historic Sail," and many others. I also read the Pigafetta account but it has virtually no information about the ships. Of course, there is a lot of conjecture but you can make a reasonable representation and learn a lot about the ships in the process.

The tool I use virtually every day is my Mitutoyo digital calipers.

You might try using the Sculpy to make a "maquette," to get an idea of how your figure will look and to become familiar with the body proportions. Then make the piece out of boxwood. David Antscherl describes the process very well in The Fully Framed Model, HMN Swan Class Sloops 1767-1780, Vol. II, pp 243 to 255. I think the Sculpy is too gooey to make a finished piece that you will want to display. I also tried to shape a piece of Corian countertop material, thinking that it would be easier with no wood grain issues, but it was too hard and didn't work well. The boxwood is, of course, great to work with. While it is a difficult project, the results can be rewarding. All this at 1:48 scale. Smaller might be unrealistically challenging, although I'm sure it's been done.

Phoenician ships were known to be, at least partially, black. They had the great good fortune to have access to natural (petroleum ) tar, still a good sealant, if you have nothing else. I think paint in the early days of sailing was used solely to change color and add decoration. At some point, as quality improved, they realized that it could also seal the wood against the deteroriating effects of the weather and seawater. It would be natural for captains to protect whatever they could, that way, and I imagine that some went pretty far with the technique. The idea of painting anything not moving, I believe, came along with the all steel ships.

The Anatomy of the Ship series book The Ships of Christopher Columbus by Xavier Pastor has a fairly comprehensive rigging plan for Santa Maria, although any plan from this period has got to be speculative. It would probably be worth it to use more than one source.

I have really enjoyed casting anchors, and some other things from soft metal. Micromark has everything you need.

The corded Dremel was one of the first tools I got when I started building models and I still use it almost every day. It is hung from the ceiling along with a flex shaft. I use most of the same bits and heads as Mr. Bordelau shows in his post, especially drill bits, mostly the carbide type, lately. I have thought of replacing it with a Foredom if the Dremel ever wears out. Still going strong after about 25 years. Also, the Dremel handpiece seems to be smaller and handier than any of the ones available from Foredom. A friend gave me a small rechargeable Dremel but it has no power at all.

Several years ago, I bought some blackened annealled steel wire and used it to make some hooks, etc. Since then the cut ends have rusted. It was a mistake. If you want an unfinished steel look, inconel safety wire is available which will not corrode at all.

I made blocks using the method shown in Zu Mondfeld for a few years but it was always pretty haphazard with varying results. However I went all in for the very systematic process developed by William Sproule which he described in the Nautical Research Journal (Vol. 61, No. 3, Fall 2016.) It does require a good mini table saw, and an X-Y table with some sort of drill press, but the blocks can be excellent.

The levers are an interesting idea. Never saw that before.

What you say makes perfect sense. I had considered the difficulty of moving the backstays but know that the crews were capable of some amazing things. You could drop the gaff and move quickly but probably not quickly enough. I intend now to put backstays on both sides, although I'm still surprised the draftsman left out those details when he was so thorough, otherwise. Thank you for your helpful input.

Thanks for that link. It will be helpful. The ship is the same configuration, pretty much.

I've found that information and details of fore and aft rigging is considerably harder to locate than for a square rigged ship. My question, at the moment, is this: Could a single backstay have been shifted from one side of the ship to the other as needed to support the mast/topmast in changing conditions? The ship is a single-masted sloop, a rather large example, at 94 tons, of a Hudson river-type sloop. The profile and rig plan shows (from starboard) both topmast and topgallant backstays running, one from the topmast, one from the topgallant mast, to a single double-block. (That, in itself is surprising) That block is part of a tackle hooked to an eyebolt in the top of the planksheer aft of the shrouds. the running end is then belayed on the bulwarks inboard. The mainmast "running" backstay, runs from the lower masthead to a large single block which is part of a tackle that hooks to an eyebolt in the hull placing it just forward of the other backstays. It too belays inboard on the bulwarks. A section drawing at the waist shows the topmast/TG backstays only on the starboard side; the main, running backstay is shown only on the port side, possibly for the sake of clarity(?) In a similar way, a different section drawing shows the crossjack lift only on the starboard side channel, the boom lift only on the port channel. Obviously the crossjack lifts would be on both sides. Another picture indicates that the boom lifts are also on both sides, the very large boom/sail presumably needing both. Can anyone clear this up? Thanks.

I am using Syren lines, now, but have also used Admiralty and Wagner commercial modelmakers rope. Also some best Irish linen. They all seem to absorb the dye/stain okay, it's just the color I haven't been able to achieve. I thought the polyester might not work but it does. I used to wear polyester uniforms and they were stained with all kinds of things. Maybe the dark brown dye just overwhelms and the lighter color isn't strong enough?

I know this issue has been discussed before, but it is still the biggest problem I have. The standing rigging is easy. It's the running rigging that is elusive. Syren lines are a great product but I have never cared for the grey brown or tan he uses. I have tried fabric dye (a lot of time/effort with poor results,) solvent-based wood stain (also unacceptable results,) and, more recently, powdered wood dye in alcohol. This last attempt seemed at least somewhat better, and is relatively easy, the alcohol drying very quickly. But in just over a year the color has changed, leaving a hue more yellow than when it was dyed. Making my own lines on a rope walk is obviously an option, but it is another level of complication that I would rather avoid. So, has anyone found a reliable way to dye their rope that they can recommend? The wood dye I've been using is Transfast. Dark Mission Brown for standing rigging gives excellent results. The Light Oak, Early American Maple and Grey have not been as successful. Mixing with alcohol or water seems to give the same results. I think this is still a good option, but thought someone may have a color mixture that they like. Maybe there are other products that are better.

You might like the acrylic Americana Decor Chalky Finish , color: "Rouge." It is very flat, mixes easily with water (or "wet water") and is quite durable. The color is not as bright as some of the others.

Also try Rio Grande Tools and Equipment, especially for a large selection of quality files and pliers. Customer service is also good.

Darcy Lever says on page 24 of The Young Sea Officer's Sheet Anchor: "The Laniard is well smeared with Grease..." The Hermione photo in this thread seems to me to be the most accurate look. That is, darker than running rigging, but not as dark as the shrouds. I think the really good replicas, Hermione, Endeavour and even Surprise, from the Master and Commander film, all thoroughly researched for accuracy, are very good sources for model builders.

Panamerican Tool (panamericantool.com) has very good quality bits, used in the aviation industry. But these days I'm mostly using the carbide bits, available at Amazon.

On my last model I began using Americana Decor Chalky Finish acrylics. Previously, I was using my wife's artist acrylics, mostly Windsor and Newton. The artist paints, though labelled "matte" are not flat enough in my opinion. The chalky finish paints can easily be mixed in small amounts, leave no brush marks, dry quickly and are fairly durable. Touch-ups don't show on original paint. The black, which I use a lot, is particularly forgiving. They were, until recently, available in 4 ounce jars, but now they only have 8 ounce. Still, the jars seal well and I have had no drying out or deterioration in about six years.

I have switched from solid solder/ soldering iron to paste solder and a small torch with a fireproof pad, all available from Rio Grande jewelry supply. To me it is easier to join the small rings and eyebolts. By the way, Rio Grande is a great source for tools and some materials. They charge for their (large) catalog, but it's worth it. They have a great selection of files and pliars, for example.

I have used western red cedar as blocking and backing, as between bulkheads, but only if it is to be covered with something else. As far as I'm concerned, its only good quality is that it's easy to sand. And, of course, it's readily available. However, there is another cedar species that I find very useful. Port Orford cedar is not very strong, has a light yellow color that is objectionable and it smells bad when you cut it. But it can be turned or cut down to about .060" and will stay absolutely straight forever. So for yards especially (if painted), and other slender spars, I think it is ideal.

I have tried a couple of things to realistically simulate unfinished, unpainted wood. Using an unusual piece of teak, which was sort of grey brown then shaded with Age-it-easy grey and brown gave a weathered look to the exterior planks on a caravel. I also used a piece of teak which was more the yellowish brown you usually see, shaded with just Age-it-easy brown, which gave a less weathered look, but still quite acceptable, on planks, masts and yards on a nao. Now, I'm using some myrtle, some of which has very little grain and is sort of grey, which I've been using for oars, blocks and casks/barrels to simulate oak. On my current build, an 18th century merchantman, I planked the deck with holly that was then stained with a very thin mixture of brown and black acrylic paint and water brushed on and immediately wiped off with damp paper towel. It is a pretty dirty look but I'm happy with it. You can also use an ink eraser to lighten some high traffic areas, like around the helm for example. To answer your question, I think brownish grey is the best color for a weathered, unfinished look.

Heartiest congratulations. Your posts are as helpful to me as any other reference. Thank you very much. Clark