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stm

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  1. There's an old saying, "the time to buy it is when you see it". Meaning it may not be there when you decide to go back and get it at a later date. A difficult habit to break since most humans do have a gathering impulse when the subject is something they have a fascination with. Scott
  2. Very impressive. Looks very professional. I gather your family must have an easy time trying to figure out what to get you for your birthday. There is always something missing or need in any work shop. I started out building plastic kits before I was a teenager in the 1960s. Would purchase them from the locale mom and pop hobby shop. They had a huge selection of aircraft kits from all over the world. Hundreds. It has changed hands since then and there are only a few kits now that they keep in stock. Talking old times with the present owners they indicated that they only keep a few on the shelves since they can't compete against the internet. In addition, the interest of todays youth switching from building models in the past to video games has had a major impact on the model building hobby. Scott
  3. I think it is fascinating the way artist can take a plastic kit and with the use of a brush and airbrush turn it into a work of art. It's very interesting to see how some modelers remove part of the fuselage, wing, etc... and proceed to build engines, guns, etc... that are not included with the kit by using their own hands and materials. WWW II aircraft are a great subject to pursue since there are so many designs from various companies you can spend nearly a lifetime trying to construct them all. Keep up the great work. Scott
  4. From the photos attached, I would say they are not reinforcements to the yards. They are called stunsail booms. Normally pronounced stuns'l. Your second diagram is closer to how the hardware securing them to the spar is correct. They were used mainly with the fore and main mast coarse, topsail, and topgallant yards. Ed Tosti's build of the Young America will show you how the hardware is constructed. Scott
  5. I wouldn't be surprised if this topic has been approached before on this site some where some time in the past. Another source would be to GOOGLE various maritime art painters to see what they are using. Geoff Hunt would be a good one to start with. There are books out there that show painters art. One is The Tall Ship in Art by Alex A. Hurt. The colors don't always vary that much, but the patterns on how they are applied to the vessel do. Scott
  6. Concerning your other question about the line you used on the rudder, I doubt that there was a standard dimension. More than likely whatever was available. On Sheet 3 of the plans Erik Ronnberg did include a tricing line that should give you a good idea of the scale. Scott
  7. I am also in the market for an air brush and compressor. One artist I know recommended a Iwata air brush and Passche compressor. If anyone else has used these an input would helpful. Scott
  8. I always keep my stands simple in design so as not to take away from the ship itself. A lot of other artist prefer to put more into them since they are part of the art work. Including a diorama or having the whaleboat on davits attached to a bulwark similar to the plans. The size of the base looks ok. You don't want a stand that is smaller then the hull since it looks like it is sailing off the stand. The pedestals are to large in my view. In the first photo you attached, Model Shipways is using heavy wire about the thickness of a hanger which I have seen quite often for boat models. You may want to down load other whale boats on-line and see what other artist are using. Model galleries would also be a good source. From the photos it does look like you are doing a nice job on the whaleboat. Scott
  9. For clarification, I just re-read what I posted and there is an error in terms. The plank that you are actually referring to is known as the false keel not the keelson. The keelson would be found inside the hull and are large beams running fore and aft used to strengthen the keel. Sorry for any misunderstanding. Scott.
  10. The patterns you mentioned are historically correct. The keelson was left unsheathed or sometimes it was also sheathed with metal. One reason for it being left unsheathed is that it was easier to replace the keelson without having to bother with the sheathing in times of grounding. Chances are if there was a grounding both the sheathing along with the keelson would have to be replaced anyway so there was no full benefit. This practice was carried out by both navy and merchant vessels and either one is correct. The second part of your question about patterns was known as belts. Scott
  11. They are boarding pikes. Used to repel enemy boarders when it got down to hand to hand combat. Scott
  12. Very interesting. A different perspective taking into account the environment in which these vessels operated in present and past. Also, furthers ones education on the background concerning the art subject being constructed. Scott
  13. Jo if the gaps you are referring to are the seams between the individual planking, then you may want to force a touch of glue in them. Otherwise they are liable to continue to open up as the years go by. Scott
  14. A very enjoyable and educational voyage indeed. You are a very intelligent and skillful individual Ed to present this to all your followers. Thank you very much for your efforts and to all that submitted additional detail and knowledge. William Crothers and William Webb would surely be impressed with the results. Scott
  15. I am in the minority. I have been using CA on rigging lines for decades and have never had a problem. PVA may be a better choice based on those who have tried both, which I have not. I use a very small amount so as not to change the color of the line. Scott

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