tkay11

Rear top panels
After placing the main rail and the false top timbers, together with the rigging bars along the sides, I made the top rear panels. For these I used low-tack tape to define their shapes (especially the bottom edges which have to fit the curve of the rail). I cut 2mm square holes in the sheer rail to take the top timbers for support of the panels.
 
The pencil marks on the deck in the pictures below are there to show the positions of the capstan and the main hatch.
 
You'll note I've already painted the hull sides. This was because there are two large side panels to be placed over the rear part of the hull. These have a supportive wooden framework which would make it very difficult to paint the hull sides completely after their placement.
 

 

 

 

 
Problems with the stem and bow
The front part of the stem was really delicate. With all the turning around of the body during fitting of the planking and panels, the card structure became seriously deformed, even after putting CA glue on it. This was a potential problem well-noted by Kondzik in his card build.
 
There was nothing for it but to replace it. This became the first of three (AAAARGH!) further reconstructions after similar breaks. I finally overcame the limitations by using a wooden piece to replace the front, leaving the card stem base.
 
You'll note the problems with having first painted the hull. The first clearly was the problems of sanding which I had to do because of the poor finish on the card, which may have been made worse by the water-based acrylics. Part of this problem was the fact that this was also my first attempt at using an airbrush, which took me some time to get used to. This resulted in a slightly patchy finish.
 
The second part of the problem was that of course by cutting off a part and replacing it, the new part would itself need to be painted and the joint filled to match. If I had sanded the base of the stem any further, its surface would have become even rougher. You'll see the effect after the following pictures which show the fitting of the wood replacement after the previous two card replacements. Pretty rough, eh? However, after a lot of time and several thin layers of paint the result was almost acceptable – though you'll only see the results of this painting later in the log.
 
Another thing to note is the very small rectilinear holes at the front of the bow to hold the bowsprit. These are only 0.5mm wide, so required very careful drilling together with the use of a 1mm chisel that I made from a Swann Morton blade.
 
The operation required that I cut a precise line in the stem, and use two strips of dressing pin (0.6mm diameter) to hold the wooden piece to the stem. I used epoxy glue and two strips of wood to clamp the parts together.
 

 
 

 
 
 

 
 
 
 

 
 
I'll continue with the completion of the rear sides and the deck fittings in the next posts.
 
Tony
 
 

Thanks for all the likes, which I'm very grateful for as good wishes for the future outcome! I just hope you won't end up a little let down as for me it's been like starting all over again with scale and card. Both these require new skills and techniques which I'm still learning.
 
PLANK ON BULKHEAD

As the next stage of my apprenticeship, I wanted to try my hand at making a POB version of a ship based on the plans. In particular I wanted to see the possibilities of building the frame in card but finishing the planking and the rest of the model in wood. This definitely is a plus for a scale of 1:100, since the frames have very small sided and moulded dimensions: the frame sided measurement being only 1.2mm (moulded 3mm). I could have used the method of Javier Baron by making a mould, as done for longboats, but preferred the opportunity to do something new.


 
There are advantages and disadvantages of making a model at a scale of 1:100, as opposed to the 1:48 at which the plans are drawn. The main disadvantage, of course, is the level of detail that can be provided. A quick look at the photos of M Fissore’s build at 1:48 provides amazement at the detail, finish and skills in making such a model. But bigger models require more wood and space.


 
Smaller models are the reverse. One question is that of rope. The sizes at this scale should be 0.2-0.6mm. My smallest thread is 0.3mm, which means I have to drill 0.4mm holes for the sheaves. This is probably ok visually, but the problems for me come with making the smallest blocks while still retaining the shape of blocks. At 1:100, the smallest blocks would have to be 1.49 x 1.19 x 0.76.  The smallest block I found I could make comfortably was 2.27mm long, which certainly looks a bit large for the blocks holding the tiller.


 
I could try to buy manufactured blocks (e.g. photo-etched), but I like the challenge of making things myself whenever possible. I suppose I will just have to try harder in future, but for the moment I’m sticking to 2.27mm blocks.


 
On the subject of detail, as usual I discarded the idea of treenailing as they would be next to invisible at this scale, and only displayed larger bolts, as for the bitts.


 
THE FRAMEWORK

I prepared a suitable holding frame from card and used the frame stations as sites for the bulkheads. So far, so ordinary.
 

 

 
I used a copy of the base from which to cut the spacers between the bulkheads so they remained at right angles to the longitudinal spine.
 

 
The stem, keel and stern were cut in card as one single piece, and fitted into corresponding grooves in the frames. I much regretted not making them from wood. Although I had strengthened all the parts with gesso, this proved inadequate to resist the problems of chafing, distortion and sanding during the handling of the model. CA glue might have been more effective, but I found even that not enough when I tried to use it on the tops of the bulkheads and the stem.
 

 
The base for the deck was then installed.

 

 
Followed by card plates for the flat bottom.

 

 
My problems started when I tried to emulate those card modellers who fill between the bulkheads. It feels like I’m starting modelling all over again as I clearly botched it this time! But I put it all down to the necessary learning experience.


 
I used a water-based filler made up from powder to fill the spaces between the bulkheads. This was supposed to avoid the problem of an irregular surface when I came to applying the sheets of card over the bulkheads to serve as a surface for the planking. I made the paste as thick as possible in order to avoid much shrinkage, but there were some essential problems which I failed to overcome.


 
First was the contraction of the filler as it dried, making it difficult to have an absolutely flush surface to the hull.

Second was the difficulty of providing an accurate base for the deck as it curved in both directions.

Third was the discovery that the water from the filler distorted the card both of the deck base and the bulkheads themselves – making it difficult to keep them square to each other. This also resulted in making the timberheads distorted and expanded. This problem might have been avoided if I had covered the bulkheads with CA glue in advance. The gesso only absorbed the water. I think in future I'll go for filling with wood blocks as these can be shaped so much more easily.

Finally, I came to realise that I had to leave a space for the mast, and this made filling of that area rather tricky, again rising to distortion in the framework.

 

 
This is where the wooden parts of the build began. I started on the waterway, which I cut from 0.5mm thick pear wood. This would stand in contrast to the deck planking which would be from lime wood.

 

 
This was followed by the deck planking, using 2mm strips of lime 0.5mm thick, so as to be close to scale as possible.
 

 

 
After completing the waterways and the deck planking I moved on to pasting strips of card to act as the base for the hull planking.

 

 
A strip of low-tack transparent tape was laid on which the outline of the top sides could be traced, and then cut out on some pear wood.

 

 

 

 
The wales were made from card, again something I later regretted when it came to sanding as they proved very easy to fray at the edges.

 

 
The hull planking was also made from card. This was ok until I tried sanding it. I found that my sanding produced a really dreadful surface for painting. It led me to understand why so many card modellers then use a plasticised laminate for the planking. More experienced card modellers have somehow cracked the problem, producing beautiful surfaces, but I have still to learn and practice much!


 
I thus decided I would complete the upper planking in wood to make my life easier. In addition, because the sternpost was by then quite distorted, I replaced the card version with a wooden one for strength as well as appearance, since it would have to hold the pintles for the rudder.

 

 
The rudder

I completed the initial basic structure with the rudder, using a 0.5mm hole for the tiller. The photo shows the brass rod I used to check the angle of the tiller.

 

 
I ended by making up the ironwork for the rudder in the usual ways.

 

 
Till next time!
 
Tony
 
 

Sure it can't be straightened out? Under a heavy board for a few days, after wetting perhaps. I don't know as I've never tried such a thing, but there may be a solution. Better to pause before a rebuild, I would think. You've done so beautifully so far.
 
Tony

INTRODUCTION & RATIONALE
I was given the Ancre monograph of the Fortuné Joseph, an Allège d’Arles (the English translation), and, as I was wondering what next to build, this looked like a good possibility. There were lots of variation to these allèges, or lighters, in the 19th Century, but all had in common their lateen rig and general shape. Ever since being taken on an Arab felucca on the Nile (the one in my picture below), I have been intrigued by the lateen rig.
 

 
I haven’t been able to find any plans or construction details of a Nile felucca (if anyone knows of any, please do advise me), but this Mediterranean version seemed near enough and I liked the lines – so I decided to jump in and try my hand at a build.
 

 
I have treated my previous builds as a kind of enjoyable apprenticeship, learning the different ways of approaching builds, experimenting with wood and card, understanding the various types of tool that can be used, and getting to grips with plans and CAD. In particular, I have tried to figure out what aspect of model-making interested me most:
the type of model, the historical research, the level of detail, the level of skill, the level of accuracy, the general image, the balance between thinking and practical building, the presentation of the model when finished.  
 
My first realisation was two-fold: I am far more interested in working or merchant craft than in warships, and completion of the model holds very little interest for me. I simply don’t know what to do with the completed models, other than give them away.
 
The second realisation was that, partly because of my lack of interest in the completed model, and partly because I have nowhere to place them when finished, I would like to explore the creation of small-scale models. I had seen Javier Baron’s 1:200 build of the Allège, and thought that that scale would be an ultimate aim for me, but for the moment I thought I’d focus on a similarly large scale.
 
After seeing kondzik’s build of the card kit of the Allège d’Arles published by WAK, I bought the card kit and built it just as far as the completion of the hull and its planking. This kit seems to be very similar to the allège in the Ancre monograph (although there are lots of differences – such as the dimensions of the quarterdeck) so this would give me not only a good idea of the overall lines and problems that might have to be overcome, but also an insight into the use of card to scratch build a hull. I had had the idea of building hull bulwarks just with card and finishing the rest of a model with wood, as I’d seen someone do that with a Shipyard card kit of the Alert.
 
At first I wasn’t going to make this into a log for a model forum since it really was an experiment just to explore the possibilities as I will explain further on. However, I decided in the end that there may be enough interest in reflections on the Ancre publication to justify a log of my build that is definitely full of mistakes, and a rather ramshackle construction and finish. For these I apologise.
 
 
The build of the card kit also gave me a little experience with using filler on a card model to provide a good surface for the planking, as so many card modellers have said that without filler it is quite difficult to avoid depressions in the curve of the hull. I followed Ab Hoving’s suggestion of a standard water-based filler.
THE PLANS
Unfortunately, the monograph and plans drawn by F. Fissore of the allège (as others have noted with builds of the Gemma and S.Caterina) do not match the excellence and comprehensive nature of the monographs from other authors published by Ancre such as Jean Boudriot and Gérard Delacroix. Thus this monograph has a very different approach: the usual detailed analysis of the plans in the monograph is instead merely a list of the parts shown in each plan, there are no scantlings provided for any parts or rigging (we are not even given the dimensions of the keel), and the guide to the building of the boat is almost entirely in photographs of the author’s build (most of which are very small, of poor resolution and thus hard to demonstrate detail).
 
This approach might not be so worrisome to those used to working from plans. It should also be pointed out that the section on rigging is good, especially given the fact that each aspect of the rigging is given its own illustration in the manner of Lennarth Petersson, and this will be discussed later. Another big plus is that the plans are laid out on long pages whose height is that of an A4 page in portrait mode – making it easy to photocopy and then stitch the pages together.
 
[The dimensions of this photo have been modified to avoid replication.]

 
However these positive aspects are offset by lots of errors in both monograph and plans which need correction.
 
My first realisation of problems with the plans came when I compared Plan 1 with Plan 2. They showed the rudder and tiller entirely differently as follows:

In this instance, Ancre immediately responded to my request for clarification and they sent me a pdf of a revised Plan 1 which corrected this anomaly – Plan 2 showing the correct dimensions.
 
The anomaly made me study the monograph more intensely in case there were further problems which I needed to bring to the attention of Ancre. I soon found lots. There are four main types of problem:
 
1.    The plans are inconsistent with the method of building shown in the photos of the monograph.


(a) There are many details in the photos of the actual build which are not shown in the plans. This led to my having to undo some of the work I had done when I finally spotted the often important detail. One of the many examples is that there are inconsistencies about the number of beams running under the bowsprit fore timbers.


(b) Less importantly, the plans show the frame top timbers extending to the top rails throughout, but the pictures of the build showing the method of construction show the frames ending beneath the lower waterway with the timberheads being constructed separately and fitted into square holes in the waterways and rails. The confusion is worsened by the fact that the plans of the frames themselves do not show the position of the ends of the top timbers at all accurately. Of course, once this is understood, the experienced modeller will be able to adapt their thinking and modify the plans accordingly, but it is at first very confusing when comparing photographs with the plans.
 
 
2.    The second type of problem is that the plans of the frames are incorrectly drawn, especially in Plan 4 of the frames which shows the floors of each frame extending only to the top of the keel rather than to the top edge of the rabbet. Once this has been spotted by the modeller who has been careful to examine the measurements this again will not be a problem. The base of the floors has simply to be extended by a few millimetres (depending on the scale that will be used).
 
 
3.    The third type of problem is that of inconsistency between the plans. Thus in some the waterways are shown correctly, and in others they are simply not there. There are many other similar discrepancies.
 
 
4.    A fourth, more irritating problem, is that the numbers on several of the plans do not match the text of the monograph, nor are they consistent on different pages of the monograph. On some of the plans the numbers are duplicated, with different parts having the same number, on some the parts are given the incorrect names (e.g. a rudder blade is given the same number as a top rail; the keel and the sternpost are both referred to as the sternpost); and some parts are given no reference at all.

Some of these difficulties may possibly be due to the very poor translation into English (some pages are not translated at all from French, which is itself a translation of the original Italian) but obviously the experienced modeller will be able to manage once aware of the difficulties.
 
 
All of these are a great pity as excellent models of the Gemma and S.Caterina (both plans by Fissore) have been built (although they do mention but do not detail the difficulties they faced with the plans), and the ships themselves have great attraction. M.Fissore himself shows photos of the builds of his various models including his own of the allège (at Archeologia e Modellismo d'Arsenal) and it is well worth the visit as the photos there are far, far clearer than in the book). I have written a fairly detailed list of these various problems and submitted them to Ancre for consideration by M. Fissore, so it may be that future editions of these plans and monograph will be made more amenable for a wider range of modellers.
 
A very similar boat, La Diligente, which was a lateen Navy messenger boat of the 1750s, whose monograph is published by Ancre and written by Gérard Delacroix & Hubert Berti, has the same level of complexity but is not only incredibly detailed and thorough together with complete scantlings: it also provides a set of plans that will allow the less experienced modeller to make it POB rather than POF.
 
In the interim, as long as one is aware of the problems with plans and monograph, the experienced modeller will be able to use the correct body, sheer and breadth plans on a corrected Plan 1 as the basis for their model.
 
I'll be adding stages of the build over the next few weeks, so I hope it will be of interest. As usual, don't hold your breath!
 
Tony
 
 

And Finished the Buoy ..
 
 

Hi Chuck,
 
I used to make my own model rope from linen line. I had the crudest ropewalk ever (I could have probably won a contest), but it worked okay for me. Also tried to build a fancy motorized ropewalk, but had problems with it. I suppose I'll just get Chuck's Rope Rocket at some point myself.
 
On wax, I tried conservator's wax, but I must not be using it correctly. It's Renaissance Micro-Crystalline Wax Polish. It goes on squishy and stays squishy, and it has a strong odor. I know people have been advising against beeswax, but it works well for me. And, so far, I haven't seen any model rigging degradation. The oldest model I have used it on is about 25 years old. So, I figure it will do.
 
 
 

Well, I took some time today... to get the stays in place. And, it didn't feel right posting without any photos.
 
So, here we go...
 

 

 

 
 

I'm just absorbing this info for now as I'm too far way from being ready to consider any finishes.  But thanks for the discussion as it is enlightening.  
 
I would suggest opening topic here:  https://modelshipworld.com/forum/20-wood-discussionwhere-to-use-it-where-to-get-it-what-types-are-best-how-to-finish-it/   as this might help others is sorting out their finishes.

3. Keel, stem and rudderpost
 
Before placing the frames definitively, the keelson has to be made.
The keelson is made of ebony. To make the slot for the centre board I lay the keelson on the saw table with the saw blade fully turned down.

Then I turn up the running saw slowly until the desired length of slot is reached.

The ends of the slots still have to be cleaned up. I do it with the fret saw.
The keelson is ready to be placed

The keelson attached on the building board. The frames involved are removed in advance.

The keel is made of mahogany. The slot for the centre board is made as described above.

Cleaning up the ends of the centre board slot.

Gluing the dead wood.

 

fitting the keel on the keelson.

Getting ready to glue the frames on the kelson: the involved frames are removed from their templates. I label them to make the puzzle afterward easier.

 

I reattach now the frames on their templates and glue them on the keelson.

As the some frames now run over the slot of the centre board, the middle pieces have to be cut to give space for the keel.
 

The other frames go through the keel. Marking and sawing the slots for them.

 

 

Fitting the keel

When the rudderpost and the stem are glued on the keel, it can be glued into position.
 
Thank you very much for reading this log, for your likes and for all your interesting reactions.
 
Till next week!

The closer I get to the bow and the stern, the greater becomes the slope of the frames. To my pleasant surprise, I can bend the veneer strips nicely along the template without breaking them. This probably wouldn't have been possible with the stiffer ebony.

 

The frame production continues steadily.

 

This week all frames are made.
 

 
Thank you very much for reading this log, for your likes and for all your interesting reactions.
 
Till next week!

One should not overemphasise this. Wood dust in general, when inhaled is not so good for your lungs and some people can develop allergic sensitivities, when exposed more frequently to the dust of certain wood species. So you won't fall over dead, when working with ebony. Good ventilation and a mask when working with it should solve most of the problems.
 
Personally, I never worked with ebony, but heard from colleagues - and can quite imagine this due to its hardness, that ebony is very difficult to bend and prone to splitting. In fact, it seems to be mainly used for carving, inlay work and the likes. I would not use it for structural parts.
 
In fact, there seems to various tree species originating in different parts of Africa and Southern Asia the wood of which goes by the name of 'ebony'. So there may be a certain variability in its workability.

2. Making of the frames
Before making the frames, something about the wood. Mr Bruno Orsel states that mahogany for old models is often associated with pleasure craft. He recommends to use mahogany for the exterior and ebony for the interior, included the frames, and indeed his model is a real beauty.
The frames are laminated with ebony veneer, thickness 0.6 mm. To find the necessary mahogany was not a problem. Ebony beams are more difficult to find but also available. Ebony veneer on the other hand is another story. The only ebony veneer that I could find (picture below) has an average thickness of three mm, not really veneer, but rather planks.

They cost also about 50€/500 grams. That means that you see about 100€ wood above. I will not plane those planks from 3mm to 0.6mm, that would be a waste. They will be used for making more structural parts. But I also need black 0.6mm veneer. I have 0.6mm mahogany veneer and decide to use that for making the frames.
I start with cutting an amount of mahogany veneer strips with a paper cutter ...

... and stain them black (color: wenge).

 

To make the laminating easier, I drill holes around the templates.

The frames are built up from three veneer strips which are glued together round the template. I fix them with wire. On top of the frame I lay a thin wooden strip to prevent the cracking of my veneer strips when bending them around the template and also to protect them from being damaged by tightening the wire.

 

I place them on the building board to dry.

Next day I can remove the laminated frame from the template. It nicely keeps its shape.

It can now be sanded. I use the 3mm thick template as thickness jig.

With the sanding some of stain disappeared. When it is re-stained, I place the frame back on the template and on the building board. A piece of card protects the spots where the wire is tightened.

Oops! Not been careful enough when sanding.

That's it for this week. Nine frames are finished and two re-laminated after being broken during the sanding.
 
Thank you very much for reading this log, for your likes and for all your interesting reactions.
 
Till next week!

There are different CAD systems, of course. If you work on a 2D CAD, the dimensions in one plane are not normally correlated with another plane. What I mean is that the body-plan is drawn separately from the plan of the waterlines. They are two independent drawings. This in turn means that you can make all the same mistakes as in hand-draughting.
 
Only, when you use a 3D CAD system and print out different sections of the the same 3D body, everything should tally.

What a beautiful start for a beautiful boat.
Allow me a question. Most of the recent Ancre plans left me somewhat (or in some cases, very) disapointed. How is this one?
Was it easy to draw the frames or did you had to correct much?

Well, Gustave Caillebotte became kind of a 'professional' in the area. He was successful in competitions, both on the Seine and off the coast. He designed his own boats, but hired a professional boat-builder and set up a yard to have them built.
 
I don't think they used real silk sails on these boats, though Caillebotte might have had access to all sorts of fabrics, as his family's business was in fabrics.
 
Sewn fabric sails are probably appropriate at this large scale. There is the silk that is used to cover the wings of model airplanes ('silk-span') or the fabrics used for silk-screen printing. This fabric is quite cheap actually. Not so easy to sew, but possible with a good machine. I have done it in the past with silk-paper backing to avoid distortion in the sewing-machine.

Great thought about those cheap collets which can be used as clamps. Thanks a lot!
 
Tony

Great thought about those cheap collets which can be used as clamps. Thanks a lot!
 
Tony

Whenever I look over at the log of @giampieroricci in his build log of La Venus at a scale of 1:96, I shudder at the thought of presenting my own build of a much simpler vessel at about the same scale. It shows me just how far I have to go in terms of skill and workmanship. However, as I’ve said before, I have to learn before I can do; and this log is definitely aimed at others who like myself are just starting model making, and who may like to follow the detailed steps of my learning.
 
 
The main issues for me are the shaping of very small pieces, and, as you will now find out, my need to improve on rope-making and finish at this scale. ROPE
The shrouds, at least, have for most of their construction, a rope diameter of 0.5mm at this scale, making it easy to produce shroud-laid rope with existing threads. However the smaller ropes required rope of 0.2‑0.3mm and so for that I went with ordinary cotton thread for the 0.3 size, and DMC Cordonnet 100 Off‑White thread for the 0.2. For the smaller seizings I used Uni‑Thread 6/0 Waxed Fly Tying Thread. Walnut crystals dissolved in water with a dilution of 1:30 were used to dye the thread.
 
What I didn’t do, and should have done, was to ensure that the fluff of the cotton thread was removed. I only noticed this too late when photographing the rigging in close-up. I console myself by saying that at standard viewing distance it is not really noticeable, especially when the rest of the build is not exactly perfect. Perhaps I should try polyester threads in future.
SARTIS
I was puzzled by the use of the word ‘sartis’ in the monograph when referring to the shrouds, as may some others when reading the monograph. So, just in case anyone is interested, I did a bit of research. The word derives from the Italian ‘sarte’ or ‘sartia’ which means ‘shrouds’, from the verb sartiare, meaning ‘to rig’. As the monograph is a French translation of the original Italian, this is not surprising.

However according to the Glossaire Nautique Répertoire Polyglotte De Termes De Marine Anciens Et Modernes, by A Jal (1868), it was also a word used in a number of ways to define the rigging of a lateen sail in 19th century France, mostly in Provence. This could refer just to the pendants hanging from the calcet, the pulleys at the base of the pendant, the falls of the pulleys, the strops at the base of the shrouds, or the entire length of the shrouds. The particular usage that applies here is not clear in the monograph, as on the diagrams it is used variously, I’ll just refer to the shrouds.
 
SHROUDS
Back to the model. The layout of the shrouds is shown in the monograph as follows:
 

 
The key thing to notice is that the top pendants hang from a ring of rope on the lower step around the calcet, rather than going round the mast. Fiddle blocks are used to tighten the shrouds, and these are fixed to the deck by straps going through ring hooks in the deck. The fall of the tackle goes to the bars on the inside walls of the bulwarks.
 
Another thing to note is that the top pendant blocks are attached to the pendants by simple wooden toggles, as are the straps to the bottom fiddle blocks.
 
I thus spent a lot of time making these different components – the time being taken because I made many mistakes with the order of the rigging and so had to un-do then re-do several times. The sequence I finally made is as shown in the narrative below.
 
First were the top pendants. These have to have a loop at either end: one for the rope ring round the calcet, the other for the toggle from the pendant block. The top loop has to have a minimum diameter of 5mm, the lower a maximum of 1.2mm (to receive the loop and toggle of the block).
 

 

 

 

 

 

 

 

 
I forgot totally to take pictures of the bottom straps holding the fiddle blocks to the deck, but you’ll see them in the photos at the end of this posting.
WINDING TACKLE
 
The winding tackle pendant is fixed round the top step of the calcet, seized, then attached to a double block which then forms a tackle with another block. The fall is attached with a hook to a ring bolt on the deck. The complete setup is shown in the monograph as follows:
 

 
FITTING THE HALLIARD RAMSHEAD BLOCK
 
Before completing the fitting of the mast, it is important to fit the ramshead 4‑sheave block and its accompanying halliard block, as the ramshead block has to attached to the boards on the hatch covering with a strap.
 

 
COMPLETING THE MAIN MAST FITTING
One of the details I had missed in the plans was the need for a small hole in the calcet protruding rim on either side to hold the halliard in place. I also placed the calcet in the wrong orientation, as the sheave should in fact run along the axis of the ship and not across. I decided not to try to undo all the rigging and kept this orientation. However, I did cut two notches for the halliard in the calcet, and these are at least functional!
 

 

 

 

 

 
The blue foam holder I use while rigging is taken from some old packaging material.
 
You’ll note that the tiller is loose. This is because I removed the rudder after damaging the gudgeons several times when it was knocked by careless handling.
 

 
Now, with all that done, and after several un-doings and re-doings, I’ll start working on the lateen yard.
 
Thanks again for all the comments and likes!
 
Tony

Hi Folks ..  At long last I have the Ratlines finished, took a bit longer than I anticipated due to sheer Laziness 🤣 .. Am currently looking at my next steps which should involve identifying the 'proper' run of all lines/ropes etc and belaying them with some nice rope loops laid over..  Then creating 2x Anchor Buoys and securing the Anchors themselves..  Which may/will require a revisit to my Anchor Cables, as they don't seem to want to 'sit down' properly (they are way too stiff) I may have twisted them too tightly on my Rope Walk ..
 
Photo Time !  Woo Hoo 😆
 
All The Very Best Folks and Thanks Again for Looking In and Commenting or Simply Liking !
 
Eamonn
 

OK Folks..  The Stbd Foremast Ratlines are done and the Stretcher is in place .. the ratlines haven't got their final shape just yet, will probably tackle that at end and do them all in one fell swoop (or should that be many one fell swoops ?? )
Have to say I rather enjoyed tying them off, I took my time (Shocker.. I know right) and did a couple every day with a few breaks to let the nerves settle, just kiddin, the weather has been rather nice so we took the time to begin getting the garden out of its winter hibernation..
 
All The Very Best folks, and once again Thank You for Popping By.
 
Eamonn
 

Ratline Action Continues ☺️  Photo this time as I've something to actually show !  Distance between them is equal to 14'' scaled and Stretchers will be added when they are finished to avoid knocking it as I tie my Clove Hitches..
 
E
 
As Ever Thanks For Stopping By Folks
 
 

I may have posted these pictures before. Below a selection of the various work-holding tools I have collected or made over the years:
 

 
1 - Archimedes drill for watchmakers.
2 - Slender modern pin-vice with hollow fluted brass body.
3 - Slender antique pin-vice with hollow fluted brass body.
4 - Shop-made pin-vice with walnut body and head made from an insert drill-chuck; these drill-chucks are unfit for their intended purpose as they usually do not run true.
5 - Eclipse toolmaker's pin-vice with knurled steel body; these come in different sizes.
6 - French-style pin-vice; these are closed with the sliding ring and have usually brass inserts in the two jaws that can be adapted to special needs;
7 - Dito, here the jaws are replaced in hard-wood for delicate parts.
8 - Antique laboratory pin-vice with fluted wooden handle.
9 - Modern pin-vice with fluted wooden handle; these come in different sizes and capacities.
10 - Antique toolmaker's pin-vice for very delicate work in confined spaces.
 
 

 

 
1 - Toolmaker's hand-held vice that is closed with a sliding ring.
2 - Hand-vice with parallel serrated jaws moved by a screw.
3 - Antique american style hand-vice; the jaws are closed by screwing in the conical body; the handle and body have been replaced.
4 - Hand-held collet-holder; this uses horological lathe collets; the advantage is that work can be transferred between the holder and the lathe when it has the nominal collet diameter.
5 - Castrovejo surgical non-locking needle-holder; they come in various sizes, this one is for eye-surgery.
6 - Antique surgical locking needle-holder; these come in a wide variety of sizes and shapes.
 
I tend to go around flea-markets and ebay to look for antique pieces or 'seconds' from the production of professional medical tools and the likes (regular prices are just not affordable), because the quality is usually so much better than what hobby shops try to flog to us hobbyists.
 
The problem with many pin-vices is that their jaws are serrated - not good for use on wood. Finding one with smooth jaws is not so easy.
 
We also had a thread here some time ago on 'third hands', where people showed their home-grown ones. OK, this is something for those with the right machinery, but the ones you can buy for a few € / £ / US$ today tend to be too flimsy and imprecise.
 
Below is the one I made myself on the basis of an inherited cast-iron lab stand. It can also double as a little vice with a function similar to those fly-tying vices. I made clamps from different materials, such as steel, brass and Novotex and the ubiquituous electrical 'crocodile' clamps can also be used. In addition, I bought some ceramic jaws as used in soldering tweezers, but did not get around to make the clamps for them yet. I also made two types of hooks to hold blocks and ropes respectly. Another useful attachment are little collect chucks that clamp from near zero up to about 3.2 mm - 1/4". These chucks with collets can be found on ebay at around 2€ or so. They are useless for their intended purpose, but good for holding wires and other round objects - even thin flat objects, as they are slotted cross-wise.
 

   
 

Update: planking has commenced!
 
The stock for this was sanded to thickness (1/64")  using the Byrnes' thickness sander. That done, I needed to stabilize the keel laterally while applying the garboard strakes. These will make the spine rigid once both sides are in place. I had made the mistake of not doing this once on a previous boat and ended up with a laterally curved keel. Not nice.
 
The twist on the plank 'blank' was done using water and the heating iron.  Once it had set, the width at different points was marked, the plank removed and trimmed. It was then glued in place. The aft plank in the strake was processed in a similar fashion. Next will be the opposite garboard.
 
From here on it will be a repetitive process until all 36 planks are in place.