Hubac's Historian

You have really made a lot of progress, here, Mark. Just beautiful work all around!

Nicely faired hull, Bill!

Well, I’m happy to report that the BONDO experiment was a success! I made a few fleur and shell casts to see how the material might release from the moulds. They released with even less effort than the Allumalite resin castings. As with the resin, small air pockets were an issue, but the crispness of detail was very satisfying, overall. For the squiggly scrolls, I decided to press a small amount of BONDO into the moulds with the pad of my finger, hoping to press out any air pockets. I then applied a thin backing layer so that I’d have something to hold onto, as I wasted away the ground. This time, perfect castings: Wasting was easy with the Dremel drum sanding attachment, followed by lap sanding across a sanding stick with finger pressure. Checking against a back-light, you can see where the ground is thicker or thinner, and you can adjust your finger pressure accordingly. You sand until you can just begin to see the castings releasing from the ground. I cleaned up a set to see what they looked like on a panel. I’m on the fence about this, at the moment: I also took some time to trim the panels so that they fit precisely within the parameters of the drawing. Because all 6 panels are produced from only two master drawings, they don’t all perfectly mirror to the other side of the drawing. A little fine-tuning was necessary: I made the yoke for the bell. The iron bands are simply black construction paper: I’ve also made the six breast-rail stanchions. I realized that the knees I patterned (left stanchion) were a little too heavy and out of scale, so I trimmed them back a bit (right): I guess I didn’t save the bell (90’s reference), so I’ll have to turn one from Screetch! RIP, Dustin Diamond

Brows on the two dolphins above the penny look just right to my eye.

Wow - I never realized just how out of alignment the beakhead is!

Nicely done drawings, EJ. Now, though, I’m going to be a genuine PITA, once again. Why no deck camber? In smaller scales, this omission is less noticeable, but your model will be quite large and this will jump out at the viewer because - apart from the practical purpose of watershed, all elements of the ‘tween decks bulkheads will read very flat. These early 17th C. ships are all about the curves. For the sake of no-one will ever see it, I can see not worrying about the lower decks, but the visible decks are a different level of consideration, IMO. I mention these things because you are early in the build, and have time to consider them. It’s a big project, and I don’t mean to be annoying, but I want you to be happy with the results of your labor.

Yeah, that’s what I was seeing in those early pictures. Sounds like you have it all well in-hand.

Well, that’s just the thing - if you continue setting frames on this current base, and then lock them in with your battens, then whatever distortion all of that frame weight introduces to your keel will also be locked-in. I think you will be safer and far less aggravated, in the future, to start from a truly flat and solid base. This ship will be heavy.

Over that span, EJ, I have some concern that your keel plinth and mounting board aren’t up to the long-term task of keeping your keel straight, as the hull takes shape.

Really nice work on the chains, Marc.

As they say - don’t allow the “perfect” to be the enemy of the really very good.

I know just how crazily small all of this is, and your macros show every tiny detail. If there are flaws, I certainly can’t find them. It amazes me every time! What you do so particularly well, from a paint perspective, is scale wood-graining. The effect is so true to life.

YUM - those port wreaths look awesome! And the washer/wedges look incredible.

BONDO is just common auto-body filler. The vinyl paste is so fine that it fills-into small details really well. It’s very sticky stuff, though.

I’ve spent the better part of the week fretting out these panels. They are pretty small, at 3/8” x 7/16”+: As such, I was having a lot of trouble NOT breaking off the ears of my fleurs. I set them aside, to glue them back-on once the fretting was done. Despite that precaution, I still managed to break one off again. I realized I would never be able to model the shells and fleurs unless they were secured to a backing, so I glued the .032 fretted panel to a .020 backer. In order to preserve some sense of lightness, I filed out the scalloped recesses around the perimeter. When I get to painting these, I will use flat black for the ground behind the fleurs and shells - a nod to theater carpentry. The fret-work will be red ocher, and the ornaments will be yellow ocher. I’m going to experiment with Bondo to see whether I can cast extras of the small squiggles that ornament all the corners of the frieze. These might be nice accents for the corners of each panel: I ran out of viable resin and don’t feel like buying more because it has a shelf-life, and I won’t use it enough to justify the cost. As long as the vinyl Bondo releases from the rubber moulds I made, we’re in business. We shall see.