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Hubac's Historian

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  1. Hubac's Historian
    The whole ornamental scheme is really coming together, EJ. She looks awesome!
  2. Hubac's Historian
    I’m sorry to hear that, Kevin. I think the work you have done is truly outstanding! Do you know whether the new builder plans to continue the build with an MSW log of their own?
  3. Hubac's Historian
    The rudder looks immeasurably better! Will you re-doing the stern post, as well?
  4. Hubac's Historian
    You may well be right, there, Mark. One thing is certain - the French were innovators in naval architecture, as a discipline; with innovation comes much experimentation!
  5. Hubac's Historian
    Interesting find on Pinterest, the other day: I have no idea whom the artist is, or when this was done, but it shows an interesting interpretation of SR's stern balconies; at all three levels, there appear to be only central projecting galleries, spanning the middle four windows at each level. This arrangement is very similar to this Puget drawing of the Monarch's stern: Here's the Monarch from starboard, quarter view: Perhaps these contemporary drawings were the inspiration for this drawing of SR. The reason that I don't think this interpretation is correct is that Berain's drawing, from the starboard quarter view, shows that the figure of "Fall" is supporting a projecting stern balcony of the middle tier, or main deck level. As "Fall" is positioned at the outer edge of the stern, at the juncture of the quarter gallery, this strongly suggests that the middle stern balcony projects at least to this juncture, and more likely wraps around and connects to the quarter gallery. As previously stated, I don't believe that the lower, stern counter projects into an open balcony at all. I do, however, believe that the upper stern balcony only projects across the middle two stern windows. Anyway, I like posting these artistic interpretations, as I find them. I suspect that they are often riddled with evidence of ship-building practice, at the time of the artwork's creation. There is nothing that I have found in authentic contemporary portraiture to suggest that the first SR would have had a mizzen t'gallent mast and sail. Later in the 18th Century, though, this would have been standard practice; perhaps this is a clue as to when the portrait was done. If nothing else, it is evidence of other people puzzling over the same problems of how to represent the ship. Whatever the case may be, it is a well-executed artwork, with nothing seeming grossly out of proportion. I like the use of red on the stern, as it is similar to what I intend for my model. The artist appears to have included Le Pheonix, to port of SR.
  6. Hubac's Historian
    Thank you very much, Backer! I hadn’t built a model in such a long time - not since a never completed Airfix Vasa that was coming along nicely until I learned that the upper works were actually red and not blue. I then lost interest, continued to carry it around with me through several moves, and finally shipped it to the great beyond, down the compactor chute, after so many parts had broken off. I regret it, now, because the paint work was really good, but it was pretty much a stock build. Fast-forward to now, and I have learned to enjoy the experimental possibilities and to try and push the craft to my limits. That keeps the challenge fresh and my interest stoked. It also gives me something productive to do at lunch and in the time before work. Little by little, day by day. It won’t be long before all of these modifications begin to take shape as an assembled thing. Thank you, again, and thank you to everyone who has stuck around. It is greatly appreciated!
  7. Hubac's Historian
    You could say that, yes!
  8. Hubac's Historian
    The lattice is coming, but it is incredibly tedious work to free it. I’ve cut across the lattice, at times, and had to fit in graving pieces. That is the beauty of plastic, though; repairs like that are easy and will be seamless on the finished model. The scrolls are fiddly and often come loose. I’ve taken to brushing the edges of the scrolls with cyano, as a preventative measure, as they come free of the ground. With all the ornaments made, now, I couldn’t resist placing them in a small section to see the spacing: I’m very happy with this, and it gives me the motivation I need to continue chipping away at the lattice. Finally, I’ve begun experimenting with acrylics. Grumbacher’s Academy line produces a Raw Sienna that perfectly captures my interpretation of the “Ventre de Biche” color that will span the lower and middle batteries, between jet black boot topping and wales: I’m glad, now, that Marc Yeu prevailed upon me to consider more period-correct, painted appearance for the so called “dead works,” which are iron fastened. I have some ideas about how to lightly weather the painted finish, so that it makes for a more realistic diorama. I’ll discuss that more, in detail, as I work through paint tests on my scrap hull.
  9. Hubac's Historian
    Outstanding, Nick! It really makes your terrific planking pop!
  10. Hubac's Historian
    Well, this sounds awesome 🍿 I will gladly follow along.
  11. Hubac's Historian
    I appreciate the kind words, EJ.
  12. Hubac's Historian
    Well, this is going to work out beyond my expectations, but it is going to take some doing! Naively, I really thought a few passes, re-tracing my lines, would free the lattice. No biggie! Not so. The styrene is thicker than I thought, and one really does have to work up to the line very carefully. I did, in fact, lever off one of my scrolls by pressing up too hard against it with my gouge. Added to that, the lines are near-impossible to see with my diffuse kitchen lighting. The flourescent overheads, at work, give me better raking light, so I may have to do a lot of this on my breaks. Or, pencil in my scribe lines. We’ll get there, eventually, and the effort will be worthwhile 😅.
  13. Hubac's Historian
    Wow! You are organized, and you are definitely paying attention to the details. I am enthralled, and following along with great interest. I can see this will be a fantastic build!
  14. Hubac's Historian
    Wow, that is very nearly a 10:1 length to breadth ratio. She must have really cut through the water! Might any naval architects in the audience venture a guess about her broadside stability in a rolling sea?
  15. Hubac's Historian
    Well, Jan, you raise an interesting question, and it is one that I have considered. In my view, it is a matter of interpretation, in part, that is bolstered by certain practical considerations, at this scale. In the black and white Berain drawing, I think one can argue an interpretation for either a concave or convex shell. There do, however, appear to be subtle shadows around the perimeter of some of the shells, that suggest a rounded form: The color, Compardel portrait that is based upon this original Berain portrait is, itself, an artistic interpretation with a number of subtle differences, and a marked contrast in the quality of the rendered details (Berain’s drawing is just crisper). All that aside, Compardel definitely argues for a convex form. In addition to the shadows, Compardel even represents the striated surface texture that runs across the crenelated ridges of the shell. It is, perhaps, not readily apparent in this image, but it is very clear on the dust jacket for Lemineur’s Les Vaisseaux du Roi Soleil: While I agree, Jan, that much ornamental architecture and furniture embellishment, from this period in the latter 17th C., employs concave shell forms, that does not appear to be the intent, here. Even if that were the case, though, I would still have chosen the convex shell form because it is much easier to carve that particular edge treatment (ridge/scallop/ridge) into a convex form, at such a small scale. This particular edge treatment is an artistic variance from the drawings that I prefer over the rolling, fluffy cloud edge. As ever, I appreciate the question and the debate. That is, in large part, what I am hoping to encourage with this model, as most of the choices I am making are debatable, either historically or artistically.
  16. Hubac's Historian
    It was important to me that the shells come out something like the way I drew them. I am happy with the masters:
  17. Hubac's Historian
    Well, that is at least one advantage of our awful vinyl composition tile flooring that I have stubbornly refused to sheeth with somewhat nicer laminate flooring. Often, but not always, I can find them!
  18. Hubac's Historian
    One step closer... I’ve made all of the foliate diamonds. I have 46 to choose from, but will only need about 36. They came out better than I had hoped. As I did with the fleurs, there was some re-shaping here and there. Now, they are reasonably consistent, but each just a little different. Tonight, I scribed the layout for the shells, and I’ll begin carving those masters tomorrow. I can also begin freeing the frieze lattice from the sheets they were scribed on, now that all the scrolls and perimeter mouldings are in place, and the excess glue has been scraped away.
  19. Hubac's Historian
    So, your model will truly be a Leviathan, coming in at just under 5’, in length! Is that correct - 1/16” to the foot? This will be primarily an upstate build, no? Well, I look forward to following this one, as the large scale affords you endless opportunities to add detail. Although, I can’t help but wonder whether the museum has provided you with perameters on the level of detail they are interested in seeing and paying for, of course.
  20. Hubac's Historian
    I really like your solution to the base, Dan. Understatement, there, is best because it really allows the model to shine, and shine she does! I am sure that you will not have any difficulty finding a buyer for her. Congratulations on a job well done!
  21. Hubac's Historian
    Even with a film finish on it, top and bottom, a solid-wood plinth will expand or contract with the ambient changes in humidity, as the seasons change. A single, solid, quarter-sawn board (name your species) that is large enough for the 1/96 Connie - say 14-16", minimum (I'm really approximating, here!), will expand and contract +/- a heavy 1/16", varying with the species. Edge glueing smaller width planks to make up that 14-16" helps reduce and equalize that movement, but the gains are not significant and the cost comes with the finished appearance of the base that will show the multi-edge glued planks of the base. No matter what, the plexi ends of the case will not move at all, to accommodate the expansion/contraction of the base, so eventually (and I imagine rather quickly), the plexi joints will fail and the plexi case will collapse upon your finished model. Many years before I became a woodworker, I had a very reasonably priced case made for my first Soleil Royal. It was a cabinet-grade ply base, with plain mahogany veneers, and nice sapele, solid edge band. The perimeter mortise that was cut for the plexi (at the juncture of the solid edge-band) allows some room for ease of installation of the glass (which is heavy!), but also for the minimal movement that one can expect with plywood, even. After 20+ years, that case is still together and good looking as the day it was made.
  22. Hubac's Historian
    Awesome thinking outside the hobby box!
  23. Hubac's Historian
    Just a cautionary reminder about your base plinth - if you use solid pecan, for example, that is edge glued and a channel cut for your plexi; the wood will expand, but your plexi won't. Veneered plywood with solid, moulded edging is always a good choice when making frameless plexi cases. Otherwise, I wish you luck on your Connie build. You're off to a great start!
  24. Hubac's Historian
    Welcome to MSW, Dave! This is a tremendous place to be and there are many friendly modelers who go above and beyond to share their knowledge and craft, and often, their spare parts! I hope the hobby will take root in your brain and that you'll become an active member of the community. All the best, Marc
  25. Hubac's Historian
    The cordless Dremel Micro is a fabulous tool that balances well in the hand without fatigue, and has decent battery life, great RPMs, and minimal chatter or vibration. Now, it isn't anything near the quality of the dental rotary tools, but for the price it absolutely can't be beat. I have roughed through so much plastic on just one coarse sanding sleeve, and it still cuts just as well as when it was new. I use it constantly to waste material, and with some practice I've even managed to get closer to finish work with this tool. Hands-down, it is the best investment I've made for my project and I use it almost every day.

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