tlevine

Hi all
 
Back from our lovely holiday and straight back onto Le Rochefort
 
I'm now working on the crews quarters below the quarter deck and have started with the bulkhead which has a double entry door.  This is quite a feature on this ship so I want to get it as good as possible.  I started by making the shiplap planks that form the walls which I then glued together to make the actual walls.


Next was to look at the doors themselves - I usually just get a solid piece of wood and then mill out the features to make them look like doors.  In this instance I thought that I would try a new exercise for me and make them from individual parts and include all of the relevant joints as they possibly would have been made originally.    Each frame is made of 5 pieces which then require 4 inserts in each door.

Milling out the rebates to fit the 0.7mm inserts

Sorry I should have taken more pictures but here are how the doors turned out.  Assembling the parts actually proved to be one of the hardest parts.

Next I needed to make the door frame uprights which have 2 rebates cut into them and also the base rebate that the walls slot into.


It all took a little bit of fettling to get all of the parts to fit correctly but I'm just about there now.



I did have one issue and that was with the door frame uprights which stopped the whole assembly from sitting flush with the beam.  This maybe because I miss read the drawings but to get around this issue I cut some rebates into the beam which actually makes the whole thing stronger and more stable
 

It's all still a work in progress but I'm getting there with this particular part of the build.
 
Mark

I started preparing the mast
 









 

Thanks so much, everyone. This was a major hurdle for me, thinking about it for many years, and now able to move forward.
 
A couple more thoughts, for those working on paintings like this.
 
1. Using frisk to lay down the base yellow ochre actually accomplished a couple of things. Not only did it allow a smooth application of airbrush paint, but it also solved part of the problem of getting the design transferred to the hull. Because the frisk is based on an accurate drawing, there is no need to worry about sketching in the design on the model itself, trying to keep faithful to proportions and sizes. It is as accurate as the drawing used to cut the frisk.
 
2. To get an accurate underlying drawing, I scanned photos of the painting on the original Bellona model, and imported them into my CAD software (HighDesign 9 for Mac). I then resized them to approximately the correct sizes and printed them. When I cut out each print and laid it onto the hull, I could see where the shape needed to be adjusted for more or less curve, a little wider or narrower. I would then make these adjustments to the CAD drawing, print again, adjust and so on until the CAD drawing was an accurate fit. Then I knew the frisk would fit well in its assigned space.
 
3. Regarding airbrush paint, I also started with Vallejo, which is highly regarded by many modelers online. But I also had problems with these clogging my airbrush (Harder and Steenbeck Evolution). Although I tried a number of suggestions for thinners seen on YouTube videos, nothing seemed to work reliably for me. It may be that I did not work out a good way of mixing the paint and thinner, or it may be that spraying on wood rather than plastic makes a difference. Golden High Flow paints worked without thinning, which does allow for a greater consistency in what is going to happen when you pull the trigger. And they match the Golden Fluid acrylics for hand painting.
 
4. As David Antscherl pointed out in his section on painting in the Fully Framed Model, the base layer of yellow ochre is a translucent paint, not opaque. So when spraying or hand brushing yellow over Prussian blue, the resulting color goes green. David's advice of mixing some white into the yellow ochre for hand brushing helps, while a number of layers of airbrushed yellow ochre eventually goes opaque. They dry so quickly that it is possible to get an opaque finish in one session of airbrushing.
 
I look back and wonder why it took me so long to work out this painting business; and now I remember the many experiments, dead ends, different products....
 
Mark
 

HI everyone,
A long time since my last post. I realized that I was getting to far ahead of myself, building up the stern with everything just pinned. I needed first to paint the lower and upper counters before I could actually start assembling things.
 
And learning how to paint the friezes was a major learning curve!
 
I greatly followed David Antscherl's advice on painting in the Fully Frame Model, vol. II section 7.26. It was exceptionally helpful for everything from paint and brushes to technique.
 
Alas, I discovered after a great deal of experimentation that hand painting alone did not work well for me. Particularly for the background Prussian blue and the letters "Bellona" on the stern, I needed a way to get things sharper and more even in tone. So, I turned to my airbrush. I masked everything but the counter and sprayed away.
 
 

I glued artist's frisk onto a print of the upper counter letters and frieze elements (a woman riding a sea monster, a man riding a galloping horse). I could then turn the frisk/print every which way on my light table, and very carefully cut the frisk with a scalpel. I then attached the frisk and sprayed everything that would be the yellow ochre base for all of the frieze work:
 

I then used white graphite transfer paper to trace the rest of the pattern onto the surfaces:
 

Then following David's advice of painting highlights and shadows on the basic forms, I eventually got to an imperfect copy of the original Bellona model:
 

I learned to admire those original model builders for their painting skill. Try as I might, I just could not get to the same level of skill. But as good as I can do! So, moving on to actually gluing together the stern!
 
I did learn a few good things that I will pass on for anyone else attempting these kinds of friezes.
 
First, after trying a number of airbrush and hand paint brands, I settled on Golden. They have the same colors in different densities, for airbrushing and hand painting; the colors match the historic colors I was looking for; they come in plastic bottles with ball bearing inside, for mixing. They spray without problems through my airbrush. And they are highly regarded in the artist community.
 
Second, I struggled with the acrylic paint drying too quickly on the palette when I was trying to mix colors. My son introduced me to the model gamers' favorite tool, the Army Painter Wet Palette. This tray holds a water saturated pad, upon which is placed a parchment sheet. Paint mixed on top of the parchment can stay wet and mixable for as long as 48 hours. A huge help!
 
A glass of wine tonight in celebration, and on to assembling the stern!
 
Mark
 
 

 
 
 

Agreed! I used the NRG half hull model to gain experience. Had to do it twice but now feel pretty confident.  
 

HMS De Braak (or just HMS Braak) was originally built as a cutter in 1781 for the Dutch navy. She was captured in 1795, modified into a brig and taken into the Royal Navy. Her career was short and in 1798 she capsized and sank in Delaware Bay. 
 
Recent salvage work has raised a large part of the hull which is now the subject of preservation work. Much of the coppering is intact and is a true contemporary record, not a recent replating such as on USS Constitution or HMS Victory. In my opinion it is most likely to have been applied during her refit in 1795-1797 though there is a possibility that it was applied by the Dutch. Can anyone shed light on this?
 
Pete Stark in the 1805 Club sent me a collection of his photos of De Braak and I have attached some below. Thank you Pete for letting me share them. I recommend that you take a look at the club https://www.1805club.org/ which will be sponsoring the restoration of the ship's bell. 
 
1. A wide view of the raised hull. It looks to me like the keel is near the bottom and the curved planking for the hull is above it. The vertical joins between the plates show that the plate to the left overlaps the plate to the right which indicates that the fore end is to the left and we can see the port side of the hull. 
 
2. The plate at the centre of the next photo reveals the nail pattern. The top edge of this plate has closely spaced nails and it overlaps the plate in the next, higher row. The nail holes in the copper show a trumpet shape, probably formed by the profile of the nail heads. 

3. The next photo provides a detail that I did not expect at the join between the hull and the keel: the plates on the hull and the plates on the keel both have a tight row of nails at the edge that is at the join. This suggests that the plates butt against each other and there is no overlap. However, the photo above shows an edge above the tight row of nails at the lower end of the hull plate. Perhaps a narrow copper plate was placed over the join, overlapping the hull plate and possibly underlapping (if that is a word) the plate on the keel. (See also the fourth photo.) 

4. The fourth photo shows more of the join between hull and keel but does not answer the question about what plating was placed there, if any. It does look as if the copper went over the main keel but not the false keel - it appears to run into the gap between them. I might be completely wrong about this. 
I do like the bright, shiny copper with a touch of green verdigris in places. This came from a hull that has been stuck in a sandbank for over 200 years. 

 
George
Remember to look up the 1805 club https://www.1805club.org/ 
 

@Richard Braithwaite
@shipman
@dvm27
 
Hello Greg,
Hello colleagues,
I deliberately chose silk yarn as the raw material for the La Creole ropes, knowing that it wouldn't be very durable in the long run.
However, the decisive factor for me was the look of the ropes, and that convinced me.
What counts is the here and now.
What happens to the model after me is beyond my control anyway.

I think silk rigging looks beautiful and I know many of the Navy Board models were rigged this way. I have also seen silken robes from previous centuries and they look fine (perhaps because they are preserved in a museum). But I now read that while silk can survive decades they start to deteriorate through a process called "shattering" (the short cross threads become unwoven) at around 60 years. Perhaps this appears in garments only and not laid up rope? But I am fairly certain that no restorer in 2300 will be able to replicate Johann's magnificent work here if the rigging starts to deteriorate.

Last elements before starting with the masting: the nets of the gangways.
I used a cardboard holder of a suitable size, threading very thin cotton thread diagonally between the cuts and then using another thread in the opposite direction by tying knots in it
 

I had a similar problem with the decade long build of my Swan class model. My earlier work was not as good as later on and some of those came rookie inaccuracies came back to haunt me as the project progressed.
Have a great holiday. Oh, to be 60 again!

Hi All
 
I've not posted in a while as I found an issue with my build that began 3 1/2 years ago when my building skills and general ship understanding were very much in their infancy I guess.  I first noticed this problem when I fitted the stern timbers and stern windows.  I could see that the counter timbers did not go fully to the top of the stern timbers and the quarter deck rear beam seemed far too close to the top of the windows.  The issue is -  I have set the counter timbers at the wrong angle which to correct at this stage would be very difficult indeed.
 
I felt that this would be the end of the build as I have tried my very best to keep as accurately to the plans as possible.  I decided just to have a break and come back to it later with a fresh outlook and see how I felt about the problem.
 
So with a renewed outlook I took loads of measurements of the entire ship.  I discovered that everything forward of the stern post is fine.  I also discovered that everything rearward of the stern post is 5mm out of spec.  So I have a ship that is 5mm longer than it should be and the issues that accompany it.
 
Upwards and onwards - The build continues but first I had to address a couple of problems.  I would need to lift the rear beam upwards to the correct height and the quarter deck would have to be bespoke behind the stern post.   So firstly the rear beam - Rather than remove the beam I have just made it 1.5mm thicker by adding a piece on.
 


Next I made the beams  - here's a few pictures of the process that I use.

Just rough cut on the band saw

I prefer to sand the inner curve first but I'm sure it makes no difference 

Then the outer


Next I cut the dovetail joints - I really like doing this part its so satisfying 


Then I cut them into the clamps using a height gauge to make sure that they are at the correct height.  I also sense check the alignment with a steel rule as they must be level with the stern post.




Then I made the beam supports 




Finally I made the waterways which sit nicely on the level of the planksheer
 




So although I'm not exactly to the plans anymore I think I've pulled it back enough to get away with it.  I do have knock on issues such as the taff rail will be longer etc etc.... but I've got my head around what needs to be done.  On the positive side you are getting 5mm more ship for your buck!!!  Also stepping away sometimes is a very good thing to do!  I'm very much back into it now - A slight delay though as it's my wife's 60th birthday next week so we are off to Crete for a fortnight to celebrate.  I can now remove all of the beams and start some of the interior detail.
 
Mark
 

What a number of the videos and modelers notes seem to indicate is that no one knows what is on the brass and different solvents will affect different contaminants on the pieces. I have acetone and should have mentioned it. Certainly the best results was pickling the pieces. Based on my soldering experience this has never disappointed me. You are right about blackening the photo etched pieces still connected to the frame. I actually used a stiff paint brush with the solvents and could see something coming off in the solution.  My choice would be to prickle the pieces, rinse, then blacken. If they did not take then i would try one of the three solvents i have in the shop until i get success. Thanks for the feedback.

Nice video on blackening Kevin. Some random thoughts - I use either alcohol or acetone as a degreaser. Also, keep in mind that brass is an alloy and, depending on the composition, some brass is much more difficult to blacken. For large groups of pieces I find that pickling first makes a difference in the blackening and uniformity of the finish. For small pieces you can use a paint brush to polish them in a deep tupperware piece so they don't fly away. Polishing prevents the finish from transfering to surrounding pieces and evens out the finish. Finally, while it's easier to blacken the Swan PE sheet whole don't you find that you still have to blacken the cut edges after removal from the sheet?

As I get close to retirement I am shifting my business plan a bit.   I am not retiring yet,  but I am starting to create the end game plan.     My business is currently really two sep. divisions or production flows.      Production of kits and then Production of after market parts, blocks and rope and fittings etc.   Both take a huge amount of time and effort.  I have mentioned before that I am currently working 7 days a week and 12 hours a day easily.  Now that I have moved and enjoy the leisure living in the back country of NJ, my wife has started to use the word "leisure" as a verb.   Chuck we need to "leisure" more.  You work to much.  I want to travel more.  You are going to have a heart attack...yada yada yada.    Sooo,  the Speedwell will be my last physically produced kit.  In addition,  I have stopped production of all of my kits...Kind-of.   I AM NOT GOING OUT OF BUSINESS.  Let me make that perfectly clear.  In fact my business and sales is now greater than at the height of the pandemic.  Lots of rope and blocks being sold.  LOL  I have many many years left in me.    BUT moving forward, I will now be focusing on just fittings and related ship model items...No kit model production.      I am retiring all of my kits.  This includes Speedwell.   I sold the last of 50 Speedwell chapter 1 and 2 sets recently.   I will only be selling the remaining chapters to those who bought those 50 chapter one and two sets.   So that will be easy enough for me to handle and administer.     Its just getting tougher and tougher to source enough wood to make this stuff in the USA and remain profitable.   I also dont want keep buying and storing a mountain of wood in my garage.  Literally a mountain of it as you can imagine.  In addition I just dont have the time or desire to do this in 60's.   The good news is that I will be introducing a ton of new fittings.  Stuff for French ships too!!  I am slowly revamping my website...and you might experience disruptions as I make it easier to find all of the fittings I offer.  I have hundreds and hundres already  and many more on the drawing board.    This is mindless repetitive work and will help pay the bills into retirement and beyond.  So no plans to stop making that stuff anytime soon.   In fact my wife wont let me fully retire until Im 67 so there is that.  God bless her.   Now the fun part...just because I am not producing these current kits any longer doesnt mean that someone else wont be MFGing them.   All of my kits already available will not just go away...you do know him and love him.   I have reached an agreement with Chris at Vanguard who will be taking over the reigns and manufacturing my kits.   This will take some time as Chris is finishing up his Surprise model kit.      The Winnie group is fine...just not selling any more starter bulkhead sets or chapter one sets.   I will continue making later chapter sets available for the group in perpetuity.  Its not a big deal until Chris can take over.      The longboat group build will also remain because that will probably be the first kit being produced by Chris followed by the barge.   So stay tuned and please dont bother Chris about getting any of this stuff.  It will be made available as soon as he can get to it.  He is busy like me...so keep that in mind.   All Winnie parts, and Speedwell Chapter sets and Cheerful parts will continue being sold on MY site for folks currently building them until the hand-off is eventually made.   So fear not!!!   NOW...this frees me up to build and design Newer projects.  These however will be made with the idea that the models will be built using plansets and thus not dependent on kit production.  Those will be released here as open source plans or at Seawatch as a new book.  Or if Chris wants,  he can take them and run with them too.  That is my retirement plan.   Keep making parts for sale for all of your projects while still building models that interest me and passing those designs on.   Now back to making rope!!!  Blocks!!! and other stuff....   Lantern mini kits both English and French are next on deck.  Then ship's wheels and a whole host of other good stuff for you folks!!!       Chuck

To begin with, read one (or more) of the pinned planking tutorials on this site. We've all been there!
 
http://modelshipworldforum.com/resources/Framing_and_Planking/Planking primer.pdf
 
http://modelshipworldforum.com/resources/Framing_and_Planking/Lining Off your hull for planking.pdf
 
http://modelshipworldforum.com/resources/Framing_and_Planking/NailPatternJig.pdf
 
http://modelshipworldforum.com/resources/Framing_and_Planking/plankingfan.pdf

@SaltyScot
@ccoyle
@wefalck
 
Hello,
Since I can't be held responsible for my dear colleagues getting headaches ...😁... , I've tried to translate the terms.
I hope it's more understandable now.👍

There's German, and then there's nautical German. And then there is the nautical German translation of the nautical French...or vice versa...

@wefalck
@JerryTodd
@giampieroricci
Hello,
I would like to thank you very much for your interest and contributions.
And of course, many thanks to everyone else for the likes.
 
Hello colleagues,
I've tried to summarize the information I gathered some time ago about the brace routing for my French corvette in a diagram for further rigging work.
If you're interested, please zoom in!
I hope you'll forgive me for only labeling it in German.
But the pictures will explain it to some extent.

@albert
@SaltyScot
@Keith Black
Hello,
It's nice to see that there's still interest in my model after so long.
Thank you and everyone for the likes.
 
Continuation: Fore braces / Bras de misaine
Before installing the fore braces, I revisited my question regarding the attachment of the standing parts to the stays and tried to gather further information on this topic.
Ultimately, based on advice from colleagues in relevant forums, I came to the conclusion that a rolling hitch seems quite appropriate here. In French, this is called an amarrage à fouet.
Before attempting the model, I tried tying a knot on a piece of rope. The loose line was secured to the stay using seizing.
I find this solution plausible and will therefore implement it accordingly on the model.

 
In this context, there was still a need for clarification regarding the routing of the fore topsail braces, since, according to the monograph, their standing parts should also be attached to the mainstay, where the fore braces are also attached.

 
However, the original Paris model shows the routing of the fore topsail braces differently than in the monograph. The standing parts run upwards to the main topmast stay where they are tied, as shown in the following illustration.

 
The aforementioned routing of the topsail braces was obviously quite common at that time. It should also be noted that the ship models from around 1800 in the Musée de la Marine have split foremast braces, i.e., the running parts run downwards via blocks on the mainstay for mooring, and the standing parts are attached to the main topmast stay.
This is also how it is shown and described in the Harland. Therefore, I am once again following the Paris model and not the monograph.

 
To be continued...

 

Looks very nice.  Looking forward to seeing the final product.

Looks very nice.  Looking forward to seeing the final product.

Looks very nice.  Looking forward to seeing the final product.

Been awhile since I last posted an update but I have been moving along. Planking is complete except for the second wale and the rails. Of course staining / panting will be the final step.
 
How well did it go? Not as professional as I would have liked but the kit did serve the purpose of teaching me the correct way to plank a hull and what spiling is all about. Only practice will improve the newly learned skill.
 
I will post when again the model is completely finished.
 

It is time to start rigging the mast.  Some lines are served with an additional layer of line wrapped around them to protect them wherever they would be at risk of damage from rubbing.  On this model, the pendant of tackles, the foremost shroud, the other shrouds above the catharpins and the jeer block strop are served.  Because this is a cross-section, the main and back stays will not be installed but they would also be served.  Standing rigging is protected from water damage with a tar-like compound.  This resulted in a dark brown appearance to the lines.  The running rigging was not protected and so was a natural hemp color.  On this model, the burton pendants and shrouds are standing rigging;  everything else is running rigging
 
Rope sizes are calculated from the diameter of the mast.  The kit contains a table with the dimensions for the various ropes, based on the diameter of the mast.  To measure the diameter of the line, I wrap it around a dowel twenty times, measure the width of the wrapping and divide by twenty.  This is much more accurate than  trying to measure an individual line. The first rope to go over the masthead is the pendant of tackles.  On the topmast, this line is referred to as the burton pendant.  This rope is completely served, and has a thimble on one end.  The other end is spliced to its opposite, resulting in the rope in the diagram below.  Where the red and blue lines meet are splices.  The pendants extend to approximately two feet below the hounds.  They were used with a tackle to raise and lower heavy weights.

To properly rig a model there is no substitute for the appearance of a served line.  I use 6-0 fly tying thread, which can be purchased at a sporting goods store or online.  I start by running thread, from left to right in this case, into the depression between the rope strands (worming), smoothing its surface (the yellow areas seen in the drawing below.  Then I serve the rope from right to left. 

I find it easier to serve short segments of rope, such as this, on the same piece of rope and then cut them apart.  I served the rope, leaving approximately six inches of serving thread for the splices (red circles).

Then I made a diagonal cut, following the lay of the rope ¼” away from the end of the serving.  The unserved line was held against the other line where the splice would go and I wrapped the two lines with the left-over serving thread “splicing” them together.  I continued the wrapping a few more twists to smooth out the transition and tied it off.  A tiny bit of dilute glue held everything together. The pendant was put over the mast head and onto the bolsters.  It was marked on each leg, two feet below the hounds and removed from the mast.  I used blackened 1/16” ID brass tubing for my thimbles.  The mark was placed on the side of the thimble and the pendant was wrapped around it.  For simplicity I used a simple seizing to secure the thimble and put it back on the mast.