hollowneck

I'm very impressed. This is a superb build log, you did a very nice job, indeed. The quality of all the kit's components looks very good too. Two Thumbs up, Egor! Ron

I have always used the superbly drawn plans that accompany Chris's models, even the "old school" drafted ones that come with the Caldercraft kits. His more recent plans with Amati/Victory are CAD and excellent. I've noted only a few minor errors over the past few years in these drawings. I agree with Glenn that plans (in logical reference scales- like in the Vanguard Alert/Speedy kits) are sufficient for me; a caveat however: there are many modelers who do not have technical/engineering backgrounds, so "instruction manuals" (with explanations and photos) are an important component to building a model without creating undue anxiety. I applaud Chris's efforts to keep EXPANDING his (and our unique hobby) customer base by investing considerable effort to make very good "Building Manuals." Ron

Nice-looking box art, Chris. Couldn't agree more with Bob. Jim is not only a good builder, he has good design chops!!!

Glenn. No Problemo. Empty bottle on its way.

Chris, A question: does this machine make a lot of noise? And another: I've wondered whether or not smoldering boxwood smells like - uh, Macallan 25? 🤣 Ron

Excellent alternative to my somewhat complicated jig, Michael. Your alternative here is much easier to assemble. I can think of no disadvantages; if I didn't already have my "stepped groove" jig I'd make me one of these. I believe this jig was demo'd by David Antscherl in New Bedford, yes? David's got Mega-Skills. I'll stay with my small Ibex finger plane over a chisel however; using a chisel certainly works but it significantly "ups your game" in the fine motor skills department!! Ron

Glenn try this link (from the link site you went to): https://www.metmusic.com/tools/ibex-planes/round-planes/50505-ibex-flat-plane-5-225mm-blade Yes, be extremely careful with these planes. You'll need to set the blade cutting depth carefully to NOT shave off too much stock at one time; several light passes are best and safer. On larger stock sections (say, 8mm), as the cuts broaden with successive strokes you'll need to apply more pressure; this is the point when one needs to be diligent. The other rule of woodworking blades of all kinds: keep them sharp! The blade in the Ibex can be easily removed and re-inserted very quickly. Ron

Glenn (and others who may be interested), Here is another link for a precision planer: https://www.highlandwoodworking.com/ibexluthiersflatsolefingerplane36mm.aspx Ron

You are welcome. Try this link Glenn: https://www.leevalley.com/en-ca/shop/tools/hand-tools/planes/32680-instrument-makers-planes?gclid=CjwKCAjw-YT1BRAFEiwAd2WRtmihasIlb4xC1d9xPZhxLv67iKKCGoeHCizMVbLTFKd8ymx37ItkRhoCGLAQAvD_BwE I own several different finger and small planes (flat, convex and concave soles/blades), but the only one I use consistently for modelmaking is the Ibex (with a flat blade and sole). This is a personal preference because this particular tool offers me a really good feel in-hand and this helps me to control very fine movements; however, there are numerous other makers who make good quality planes. Sorting-out making the jig will take some time and effort but it will be worth it. Of course, you'll also need to source decent square hardwood stock, or mill these pieces yourself. Ron

Glenn, Here are two pics of my "planing jig." One shows a piece of pear square stock(8mm and long), the other, a shorter piece of Boxwood (10mm). Both photos show the grooved stock holding blocks and the end stop on the jig. The jig can securely hold square sections about 18" long and about 12-14mm (max) thick. As you can see, much smaller square sections can be accommodated easily (5 different sized holding grooves); I haven't run into a mast or spar yet when I couldn't use this simple jig. Yes - one does need to create the holding blocks and secure them to the baseboard (I have 4 total on the full jig length). I used a precision tablesaw (with a tilting table) to cut these grooves in a block of wood (maple, I think) and then "sliced off" the four pieces I needed. I chose to have three of the blocks fairly close together so I could plain-down short wood sections. Even hardwoods will bend slightly under planing pressure you'll apply: the close spacing fully supports the stock, end-to-end. It is also good to invest in high-quality "finger" plains. The ones shown here are used for precision musical instrument woodworking; I got them both from violin maker tool vendors (one here in the U.S.-Ibex, and the other in the U.K. - Sheffield). Google 'em if you're interested. Not inexpensive, but superbly crafted tools with high-quality steel blades. Note that once one has reduced the square section pieces to fully round cross sections, you'll still need to use sandpaper by hand - or employ a small lathe/drillmotor, etc. to finish. I do all of these sanding steps typically. Note that when making yards that there is an octagonal center section which will be easy to mark off when the eight sections are equal. One then carefully continues shaping to a round section with the plains on either side of the octagon. This part, going the eight flats to the fully round section takes some practice to get right. Hopefully, my description and photos gives you a good idea on how I start my masts and spars for my models. Cheers! - Ron PS Thanks for your kind comment. I'm now working on my 4th diorama and I keep learning how to do water a little better each time. I love to present my models as living, "dynamic" artifacts, albeit from another era. On my latest model, I learned how to use new materials to simulate splashing water. Who knew?! It's a whole new thing (pour moi!)... on my current build I'm trying to figure out how a small river flows into the seashore- fresh water meeting salt water. It's a "thing" - trust me!!!

Glenn, I use square stock mostly for all masts and spars. To form the rounded sections I use a simple planing jig. A lot more work, clearly. ...BUT- This allows me to precisely taper and shape the center octagonal sections on yards extant on all 17/18th- C period ships. On masts, there are also square sections where tops must rest; this is considerably easier (and much more precise) when one starts with square section stock. In some instances I've stained final wood pieces, but boxwood doesn't take stain very well if one desires a darker appearance to their masts. To overcome this problem with boxwood, I have used Fiebing's leather dye (alcohol-based) successfully; it comes in several beautiful brown shades. In the attached photo you can see that I used Swiss Pear for the model's two masts; all spars were made from boxwood, painted flat black. Ron

Not Grandpa's Kit.👍 Ron

Chris's 1577 Revenge kit from Victory/Amati provides extensive printed paper decorations. In my build of this superb kit and after testing this appliqué approach, I didn't like the appearance and I decided to paint over these printed patterns. I've included one photo here to show the results of my solution. Looking closely, one can see that my "over-painting" isn't perfect. In fact, slight brush marks and tiny "wobblies" in the application of acrylic paint accomplished exactly what I intended: the appearance of precisely-hand-painted, decorative friezes. It is important to note that the scale of this kit is 1:64; the large, geometric patterns weren't that difficult to execute by hand. However.... For models of latter era ships, whether kit or scratch-built (mainly English and French Navy warships of the 17-18th centuries), accomplishing accurately painted embellishments (mostly on outer bulwarks, sometime on sterns) is extraordinarily challenging - at any scale - but especially so at scales smaller than 1/48 (I" = 1ft.). This style of ship decorative painting is called trompe-d'loeil ("fool-the-eye"). This painting style was popular in contemporary European art of the late 17th and early 18th centuries and adopted by ship owners and builders. The themes are very detailed and typically featured floral and ornate tapestry designs which mimicked the decorative interior trends of the period. I have seen numerous (legacy) ship models in museums and in various publications with this painting technique and believe the vast majority of these models are at scales of at least 1:48. Modeler's attempts to accurately portray this embellishment at scales of 1/64 or 1/72 (for example) are rare precisely because it is extremely challenging to do well. To the point: Paper appliqués, whether printed or hand-painted off the model, are a reasonable "best solution" for period ship models at scales smaller than 1:48. Members here will note that Chuck Passaro's HMS Winchelsea model has beautifully rendered the trompe-d'loeil style paintings on both the bulwarks and stern with excellent painting by hand: As most would agree, Chuck is a trained and accomplished artist — and, importantly, this impressive model is 1:48 scale. It will be interesting to see what Chris decides to offer for his kits of ships featuring these 2-dimensional ornate embellishments. I'm certain it will be clever! Ron