Julie Mo

Thank you once again, Keith! I feared the bulb planking might have to be tapered. What I need is a very dexterous 4 year-old to hold those tiny pieces and sand. I do have one of these It's a thickness gauge made for inlay. Maybe I can fashion a wedge in there to create the bevel. I do have some balsa I picked up for backing. I've noticed you could get yourself in trouble if you don't fair the edges of the frames accurately. It seems the easiest way to get that right is by inserting backing, The instructions show to start planking at the bulb. But if you're not going to paint the hull, doesn't that risk the planking being out of parallel with the gunnel line? I'm a woodworker because I love wood. I can't bring myself to paint the mahogany. I prefer to bring out it's beauty. So the planking has to look good above the waterline.

There are two sets of instructions, one is text, the other images. Between the two, there should be all the information you need to build the model. For as far as I have progressed, I find the full size drawings help in labeling the parts and for checking progress. Some of the text instructions could be better explained. Relying just on the imagery hasn't instilled a lot of confidence in me that I am interpreting them properly. Reading the text and looking at this part of the imagery instructions, I interpret this as I have to round the plywood on the bulb area to match what is in the picture. Then I take 2mm x 2mm ("A") pieces of planking and glue them to the half-round bottom section of the keel. To understand this required a lot of going back and forth between pages and reading and interpreting along the way until the picture became clear How I am supposed to keep those tiny planks in place while the glue dries, the instructions offer no guidance. About the only thing that comes to mind as to how I will hold the "A" planks in place is a rubber band, cut and wrapped around the planks. I can see where the movable centerboard is could create some problems if the glue from planking oozes onto it. Working with such small parts, I'll have to be very careful the centerboard doesn't get glued in place. They tell you to use "vinylic glue" which I take to mean white glue. I plan on using Titebond III because it has a longer open time. Should I pick up some Titebond I for areas that need faster set times? This is the kind of thing I find myself having to go over and over and checking across several pages until I feel I understand what is supposed to be done. You can't read these instructions once and everything is clear as a bell.

Still in dry fit, and some more observations... Now that I'm getting a better grasp on the process, I am finding the text instructions require some "maybe they meant this" re-interpretation. The English text was not translated well. If I didn't have the members here to ask for help, I would be proceeding with some apprehension. I'll explain that later. The hull framing is now together and checked against the drawings. I noticed some areas that need to be fine tuned. Fore-and-aft, the deck is lowest amidships and higher at the bow and stern. Athwartships, the center is higher. I was impressed by this detail and by the way the pieces were cut to create this realism. I noticed no twist in the structure as I eyed from stern to bow. They did a very good job in designing and cutting the parts. I am going to need a sturdy stand. I hate to go out and buy tools I already own just to build the stand. I'm working on figuring out a way to avoid this.

That's something I've been wondering about. Thank you, Keith.

Still in the dry fit stage... As I have progressed, I am now marking every piece to establish orientation and joint identification. Using a piece of scrap to check the roughed out slots isn't reliable as the thickness of the plywood changes just enough to change snug with the scrap to tight in the actual joint. So I have changed to testing the fit against an area close to the actual joint. That's why, to ensure things don't get mixed up when I disassemble it, I decided to mark all the pieces. This is as far as I got last night: Assembling many pieces together increased the joint tightness, and the difficulty. As you assemble what you've filed and fit, I've discovered not to try to file and fit anything already assembled. It's much harder. File each joint separately to snug before assembling. It also looks like I'll need several strong clamps, like the yellow ones in the picture. I find as I start assembling several pieces together, one will slip out of the joint as the one I'm working on is seated in place. This could turn badly quite quickly if glue has already been applied. I'm going to pick up some more of those clamps today. I'll also pick up some Titebond III, as it sets more slowly. All of the fitting has been done by filing the length of the joint slotting. But as I began assembling the deck beams I found this: I am now filing out the bottom of the slots to make the deck joints flush. Once they are all flush and glued, I'll sand off the burnt glaze where the deck ply attaches. That tiny metal-handled rasp I've been using creates hand fatigue. I'll be looking for something to fashion up a handle. If I had my workshop set up, I would have already visited the lathe. This project is making me miss my workshop more and more.

Rail and stile panel doors in a model... I am VERY impressed!

Regarding the tight joints, I'm going to give Amati the benefit of a doubt and say they made them that way so you have to remove the burned wood from the laser cut. By filing down the glaze, you expose fresh wood and this allows the glue to bond better. But it certainly does add some time to the build. I don't mind though, I bought the kit to keep me busy.

Bow section dry fit Having taken a rasp to each joint and test fitting over and over until snug really made a difference in working with this phase of the build. What I have learned is taking your time to get it right is worth it (it usually is). I also found I need a small vice to hold some pieces while taking a rasp to them. And I found that building my first model on an ottoman in the living room and watching the Chicago Bears win is a pretty good Sunday afternoon.

This piece needed to be inserted sideways Then turned at the slot. It could not be turned at any other location. Even with the scrap test, this was as far as it would go without excessive pressure. Since this is only a dry fit, it all has to come apart without breaking.

The first thing I found was the joints were very tight. Snug is good. Tight is bad. From my woodworking I learned the joints should not be so tight that you can't get them apart. The glue gets squeezed out, weakening the joint. I also noticed a bit of a glaze where the laser cut the wood. This might inhibit glue absorption. I took out a 14 grain flat rasp to open up the joints Using a scrap piece to test fit Gotta make sure it fits all the way

I have read through the instructions and compared them to the drawings, several times if needed, and think I have a pretty good understanding how this build will go together. At times, I see making minor modifications that would seem to make the build better in one way or another but, without so many of my tools available, it would probably be best not to change a thing. However I will not proceed to the next step unless I am confident of the structural integrity. I don't want this to be flimsy or overly delicate. I had a chance to work for a bit this morning. I took the two hull structure plywood sheets and labeled each of the pieces to match the instructions. I'm glad I did it in pencil because I had to go back and make some changes. The pictures in the instructions do not include dimensions and some of the pieces look alike. Next step will be making a dry assembly. The only work table I could fashion from the furniture in the rental is in a room with very poor lighting. Access to that room is by way of a tight spiral staircase. At some point I will have to move down there permanently but for now I'll be working on fold-up snack tables. Sure is different than an actual workbench!

Thank you again, Keith. I hope you awake well rested. What kind of bar would you like? Some of the best sails I've had is when I've been out in a bluster. When you return to safe harbor, you are worn but oddly invigorated. I used to race. I have helmed many a race and I've been a scrub too. When you get back from a sail that has tried to take everything out of you, there's a feeling hard to describe. But it's wonderful. I never leave the boat a mess, but I forgive myself if it's not picture perfect. Before I head for the saloon, I take a look at her and if she looks well rested but not neglected, I turn with a smile and head for the bar. Part of what motivates me to make this build is I want the finished product to re-spark sailing memories. If it doesn't, it's just a decoration.

Thank you, Keith! As always, you are a wealth of knowledge. I hope you don't mind I consider you my mentor for this build. I looked at the dinghy plan. There are only 9 Figures (steps) in the instructions. I had to look up "clinker" and "carvel" to know the difference but the images look like carvel and that is evident on only one Figure where they show nails being used on the bow and transom to secure the planks. From what I see, the builder has to shape the hullform freehand. I have some Auriou modeler's rasps that are a dream to work with and would make short order of this task but they are locked up with the Ark. For the first time I'm seeing I will be handicapped without some of my hand tools (they have spoiled me.) As for the mast, I have only glanced at the parts but it looks like the builder is supposed to end glue three dowel rods to form the mast. End gluing creates a poor bond. I'm wondering if I would be better off picking up a single dowel rod and tapering that instead of trying to end glue what comes with the kit. (I am without my calipers, too) When I picture the finished model, I find myself leaning toward building a pier with planks and pilings and setting it up like Endeavour just came in from a race. I would flake the main and lay the genny and jib along the deck, still attached to the stays, with ties along the way. I might even take it a step further and leave the lines more like what you'd see just after a race. So there would be a bit of a mess. I'm also thinking possibly creating some puddles on the deck. I find sailboats most attractive when they look like they have just been sailed by sailors. And of course, the dinghy (the instructions call it a lifeboat) would be at the dock, with items in it that may have been needed for backup supplies and materials. I will have to research that further. Obviously, if it had a motor, it could be more useful in that capacity. I may not actually start on the build until next week. The more I learn, the more there is to know. Thank you all for your help and encouragement. I will take pictures of each step and post them as I go along.

You're so right, Keith! Let's see... Rule 1 - I need a bigger workbench Rule 2 - I'll have to be more patient looking for tools Rule 3 - I need to buy some useless tools to fill all that space On a serious note, I opened up the full-sized plans this morning. I found they include a dinghy with the kit. Maybe that would be a good place to start. I also realized just how big this thing is! I knew the dimensions but my brain was in denial. How do you move this once it's built? I started to wonder if I should wait until we're in the new house. But if I do that, I'll never start it because the house will get all the attention. And I bought this to fill the days before we move. So forge ahead! This will be fun!

Thanks, Andrew. I think I got the title right.

Starting this thread makes me feel like a teenager writing a book called, "How To Live Your LIfe." The kit finally arrived late today. It's late and I didn't want to open everything up so I just set up a quick photo shoot of the contents So far, the only problem I have is with the instructions. You are probably asking yourself, "Because they are in Italian?" No, because the print is so small! The last time I built a model ship was in 1965 and it was plastic. This kit is made like an Oyster compared to that. Since I can't afford an Oyster, this will do. And I'm gonna to need a bigger work table.

Thank you! I will check it out. (Maybe we don't need this thread anymore?)

A lot can be learned about the trade when you see a workshop, from the surfaces one works on to the tools in the shop and on to the layout. If you have a picture of your workshop, large or small or in between, please post it.

You can probably imagine the reaction when a tough construction worker is told he has to wear gloves. I wore gloves most of the time at work and didn't get harassed about it but if one of the guys was caught wearing gloves, he caught a lot of flak. After I had been in the trades about 20 years, personal safety was coming to the forefront. Contractors were getting hefty insurance premiums and the insurance companies were requiring contractors to meet certain safety standards or get hit in the pocket book even harder. That was in the mid-90's. When I heard the guys razzing one of the guys wearing gloves I would ask, "What part of your body is most often injured at work," The answer was always "the hands." But that answer would usually be followed with something like, "So what. It's part of the job." One guy in our local was known as "Hammer Hands" because he was seen breaking up pallets with his bare hands. Sometime in the early 2000s I started to see contractors issuing gloves and required the guys to wear them. You should have heard the griping! Then one contractor found Perfect Fit gloves and the guys absolutely fell in love. It turned out most guys hated gloves because they lost feel and dexterity. Most gloves made at the time were at best hand covers and they didn't last very long. Very little dexterity was lost with the Perfect Fit gloves and they lasted forever. They also provided some cut protection. I had been wearing soft leather gloves all those years but when I tried on my first Perfect Fit gloves, I was hooked. But all good things must come to an end... The company that makes them messed with perfection. They increased the nitrile coating to the gloves and killed the feel and dexterity. I haven't been able to find the original in years.

I saw "Spray" and couldn't stay away! Very nice work, Bob. Really excellent detail, too! If you liked Slocum's book, you might like Bernard Moitessier's The Long Way. I think he might have more salt in his veins than even Slocum. I first heard about him from the book, Voyage For Madmen, the first solo circumnavigation race. Required reading for sailing nuts.

Well Rick, I guess you don't know about Google boats.

It is a Tele. I don't remember the pickups used. I built it for a friend and he supplied the electronics. It was a fun build because he came into town and I had him do the final shaping on the neck. He worked on it for three days as I guided him through how to do it. When it was done, he loved it. That was fun. Not yet. So far I've only built 5 guitars, 2 Tele-types, 2 Strat-types and 1 Ric bass-type. I say "type" because I modify them, all except the Tele I mentioned above. Figured woods are highly prized by many guitar fans. The pros don't seem to be as enamored with it though. I handed one of my guitars to the guy who is now the lead singer for Kansas. Every non-professional I showed it to was gaga. The Kansas guy was like, "Meh." I am far from a pro, really, really far, so maybe that's why I like figured woods. When selecting lumber for the necks, I am always looking for woods that will really pop. Some guitar builders don't use BLO because it adds a yellow tint, especially if you lay it on too thick. They go to straight lacquer because they want a white maple look. But if you like it to look aged, BLO will help give that look but you'll still need some tinting if you can't wait for nature to do its thing . Something I forget to mention when making grain pop is using dye. I use Trans Tint dyes, They can be dissolved in water or solvent (like alcohol) and the color possibilities are endless. It takes a lot of experimenting if you go DIY but some finishing pros have shared their formulas. I have a finishing book by Teri Masaschi that includes formulas but most of the dyeing I have done was trial and error. The beauty of dyes is how deeply it goes into the wood. (Stain just sits on top of the wood.) Dye is great for closed-pore woods like maple but not so good for open-pore woods like pine. I have not dyed redwood though. The natural beauty of it seems best brought with an oil, like BLO. And it doesn't seem to be noticeably affected by the yellow tinting. We had a hot tub in the last house and the redwood paneling was shot. I picked up some redwood 2x4s and 2x6s and milled them into replicas of the original panel pieces, being aware of the figured pieces (there wasn't much) and planning for them to go where they will be noticed most. I then applied several coats of Penofin oil on each piece before I put it on the hot tub. The figured pieces really popped. But the Penofin didn't last. Three months and it was gone. This is the start of the repaneling. You can see the few figured pieces on the tub but the picture doesn't do the grain justice. With figured woods, you have to view it from several angles to see the depth of the grain. But since this is oil only, you don't get the same appearance as you would when putting a finish over it, such as lacquer, varnish or shellac.

In my guitar builds I have sought out curly maple for the necks and curly anything for the bodies. I have tried many different finishes to make the grain pop. For me, boiled linseed oil pops grain the best. I have used BLO on curly maple, sapele, bubinga, cocobolo, koa... and redwood (but no redwood on guitars). With BLO you have to lay it on and let it get close to drying then wipe it off. It takes up to a week to fully dry, depending on how thickly it was laid on. I rub it in and wipe everything off until almost dry. It is usually dry in about a day. I always follow BLO up with dewaxed shellac. The shellac seals the oil and prepares it for any finish. On this curly maple neck - BLO followed by super blonde shellac followed by 10 coats of lacquer. In time, wood always darkens and this makes the grain pop more. Whatever you see once the last coat of finish dries, will get darker as time passes.