hollowneck

Nice looking model, Keith. Congrats.
On the old photos from the 19th-century (and even early 20th): most people look so "stiff" (even joyless,mostly super- serious), is because the photographer would coach his subjects by asking them to take a deep breath and hold it since the exposures on glass plates (tech of the era) were quite long, even in bright sunlight. Also, try to hold your breath and smile at the same time...can be done, but it's not natural.

Nice looking model, Keith. Congrats.
On the old photos from the 19th-century (and even early 20th): most people look so "stiff" (even joyless,mostly super- serious), is because the photographer would coach his subjects by asking them to take a deep breath and hold it since the exposures on glass plates (tech of the era) were quite long, even in bright sunlight. Also, try to hold your breath and smile at the same time...can be done, but it's not natural.

Nice looking model, Keith. Congrats.
On the old photos from the 19th-century (and even early 20th): most people look so "stiff" (even joyless,mostly super- serious), is because the photographer would coach his subjects by asking them to take a deep breath and hold it since the exposures on glass plates (tech of the era) were quite long, even in bright sunlight. Also, try to hold your breath and smile at the same time...can be done, but it's not natural.

Keith,
Polyester line; try this as glue on that line. It dries clear, and is thin viscosity.

Yep, druxey. A bonehead move. I usually have a bottle of alcohol handy too. Will an 18 yo single malt Dalwhinnie work?

A few more photos of HMS Camilla's rigging progress.

Rigging fixed. In my previous post I showed how I tried to cleverly remove some random glue from a rope with a handheld lighter; it torched the line, burnt it. Sacré Bleu! Non-reparable. So, I stripped-off the line that consists of two leads wrapped around the upper post head at the crosstrees and started over. I'll never do that again.

A lot to see in this photo of the foremast rigging. At the bottom of the photo, the catharpins are laced and tied to the intersection with the futtock shrouds. The resulting tension created with this rigging step is quite critical to get right. All shroud lines on the foremast are now completed, upper and lower. The large single block holds the main topmast stay that descends to the base of the foremast. Setting each of these stay lines is a tricky business to achieve the right balance for line tension. With standing rigging, one needs to constantly double-check the alignment in three planes as well as insure that all the lines are taut - without skewing the angles of the mast components unnecessarily.
Another detail in this photo: I will mount the guardrail and remaining stanchions AFTER all the stays are run (including backstays). There are several lines that terminate to the small eyebolts at the aft area of this top. Mounting the guardrail (and its rope netting) too early makes attaching the subsequent rigging to the top's eyebolts very difficult.

Tying-off the main stay topmast violin block. These one-piece blocks are much easier to rig than attempting to tie two separate blocks together - particularly at this smaller scale. This detail is shown to illustrate the usefulness of the "QuadHands" tool for rigging. Here, two of the four flexible extension arms firmly hold the block and the rope in-place. The extensions reach almost 15 inches high from their base. This is very handy in many rigging spots. Here, this double block provides leverage to the lines secured at the base of the foremast; the rig is designed to tighten the stay line that runs upward through a large block at the tophead and then across to the main mast. The same rigging set-up will also apply to the adjacent Mainmast Preventer stay to the opposite side of the foremast.
 
There are many different approaches to rigging processes by age-of-sail modelers and all of them are correct - as long as the result is neat and accurate - with all lines appropriately taut (or not). This consideration is very important when one adds sails to their model. Assuming a model's sails are mounted as "working sails," some running lines will be very taut, others, not.

Another photo showing the utility of the QuadHands jig. Pretty self-explanatory. In the bottom left corner, a spool of my Coats & Clark dark brown upholstery thread. I use this thread extensively for tying-off blocks and lashing lines. It is a polyester thread and not likely to come undone once secured. I've used this thread for all my models and so far (knock...knock...), so good: no loosened or unwound rigging lines- yet.

Ow! Like burning down the house to get rid of a spider.... You were lucky not to ignite the whole ship. Glad you were able to repair battle damage. Another great reason to use PVA: it can be easily dissolved in rubbing alcohol. As long as you keep open flame away from it!

Yep, druxey. A bonehead move. I usually have a bottle of alcohol handy too. Will an 18 yo single malt Dalwhinnie work?

A few more photos of HMS Camilla's rigging progress.

Rigging fixed. In my previous post I showed how I tried to cleverly remove some random glue from a rope with a handheld lighter; it torched the line, burnt it. Sacré Bleu! Non-reparable. So, I stripped-off the line that consists of two leads wrapped around the upper post head at the crosstrees and started over. I'll never do that again.

A lot to see in this photo of the foremast rigging. At the bottom of the photo, the catharpins are laced and tied to the intersection with the futtock shrouds. The resulting tension created with this rigging step is quite critical to get right. All shroud lines on the foremast are now completed, upper and lower. The large single block holds the main topmast stay that descends to the base of the foremast. Setting each of these stay lines is a tricky business to achieve the right balance for line tension. With standing rigging, one needs to constantly double-check the alignment in three planes as well as insure that all the lines are taut - without skewing the angles of the mast components unnecessarily.
Another detail in this photo: I will mount the guardrail and remaining stanchions AFTER all the stays are run (including backstays). There are several lines that terminate to the small eyebolts at the aft area of this top. Mounting the guardrail (and its rope netting) too early makes attaching the subsequent rigging to the top's eyebolts very difficult.

Tying-off the main stay topmast violin block. These one-piece blocks are much easier to rig than attempting to tie two separate blocks together - particularly at this smaller scale. This detail is shown to illustrate the usefulness of the "QuadHands" tool for rigging. Here, two of the four flexible extension arms firmly hold the block and the rope in-place. The extensions reach almost 15 inches high from their base. This is very handy in many rigging spots. Here, this double block provides leverage to the lines secured at the base of the foremast; the rig is designed to tighten the stay line that runs upward through a large block at the tophead and then across to the main mast. The same rigging set-up will also apply to the adjacent Mainmast Preventer stay to the opposite side of the foremast.
 
There are many different approaches to rigging processes by age-of-sail modelers and all of them are correct - as long as the result is neat and accurate - with all lines appropriately taut (or not). This consideration is very important when one adds sails to their model. Assuming a model's sails are mounted as "working sails," some running lines will be very taut, others, not.

Another photo showing the utility of the QuadHands jig. Pretty self-explanatory. In the bottom left corner, a spool of my Coats & Clark dark brown upholstery thread. I use this thread extensively for tying-off blocks and lashing lines. It is a polyester thread and not likely to come undone once secured. I've used this thread for all my models and so far (knock...knock...), so good: no loosened or unwound rigging lines- yet.

A few more photos of HMS Camilla's rigging progress.

Rigging fixed. In my previous post I showed how I tried to cleverly remove some random glue from a rope with a handheld lighter; it torched the line, burnt it. Sacré Bleu! Non-reparable. So, I stripped-off the line that consists of two leads wrapped around the upper post head at the crosstrees and started over. I'll never do that again.

A lot to see in this photo of the foremast rigging. At the bottom of the photo, the catharpins are laced and tied to the intersection with the futtock shrouds. The resulting tension created with this rigging step is quite critical to get right. All shroud lines on the foremast are now completed, upper and lower. The large single block holds the main topmast stay that descends to the base of the foremast. Setting each of these stay lines is a tricky business to achieve the right balance for line tension. With standing rigging, one needs to constantly double-check the alignment in three planes as well as insure that all the lines are taut - without skewing the angles of the mast components unnecessarily.
Another detail in this photo: I will mount the guardrail and remaining stanchions AFTER all the stays are run (including backstays). There are several lines that terminate to the small eyebolts at the aft area of this top. Mounting the guardrail (and its rope netting) too early makes attaching the subsequent rigging to the top's eyebolts very difficult.

Tying-off the main stay topmast violin block. These one-piece blocks are much easier to rig than attempting to tie two separate blocks together - particularly at this smaller scale. This detail is shown to illustrate the usefulness of the "QuadHands" tool for rigging. Here, two of the four flexible extension arms firmly hold the block and the rope in-place. The extensions reach almost 15 inches high from their base. This is very handy in many rigging spots. Here, this double block provides leverage to the lines secured at the base of the foremast; the rig is designed to tighten the stay line that runs upward through a large block at the tophead and then across to the main mast. The same rigging set-up will also apply to the adjacent Mainmast Preventer stay to the opposite side of the foremast.
 
There are many different approaches to rigging processes by age-of-sail modelers and all of them are correct - as long as the result is neat and accurate - with all lines appropriately taut (or not). This consideration is very important when one adds sails to their model. Assuming a model's sails are mounted as "working sails," some running lines will be very taut, others, not.

Another photo showing the utility of the QuadHands jig. Pretty self-explanatory. In the bottom left corner, a spool of my Coats & Clark dark brown upholstery thread. I use this thread extensively for tying-off blocks and lashing lines. It is a polyester thread and not likely to come undone once secured. I've used this thread for all my models and so far (knock...knock...), so good: no loosened or unwound rigging lines- yet.

A few more photos of HMS Camilla's rigging progress.

Rigging fixed. In my previous post I showed how I tried to cleverly remove some random glue from a rope with a handheld lighter; it torched the line, burnt it. Sacré Bleu! Non-reparable. So, I stripped-off the line that consists of two leads wrapped around the upper post head at the crosstrees and started over. I'll never do that again.

A lot to see in this photo of the foremast rigging. At the bottom of the photo, the catharpins are laced and tied to the intersection with the futtock shrouds. The resulting tension created with this rigging step is quite critical to get right. All shroud lines on the foremast are now completed, upper and lower. The large single block holds the main topmast stay that descends to the base of the foremast. Setting each of these stay lines is a tricky business to achieve the right balance for line tension. With standing rigging, one needs to constantly double-check the alignment in three planes as well as insure that all the lines are taut - without skewing the angles of the mast components unnecessarily.
Another detail in this photo: I will mount the guardrail and remaining stanchions AFTER all the stays are run (including backstays). There are several lines that terminate to the small eyebolts at the aft area of this top. Mounting the guardrail (and its rope netting) too early makes attaching the subsequent rigging to the top's eyebolts very difficult.

Tying-off the main stay topmast violin block. These one-piece blocks are much easier to rig than attempting to tie two separate blocks together - particularly at this smaller scale. This detail is shown to illustrate the usefulness of the "QuadHands" tool for rigging. Here, two of the four flexible extension arms firmly hold the block and the rope in-place. The extensions reach almost 15 inches high from their base. This is very handy in many rigging spots. Here, this double block provides leverage to the lines secured at the base of the foremast; the rig is designed to tighten the stay line that runs upward through a large block at the tophead and then across to the main mast. The same rigging set-up will also apply to the adjacent Mainmast Preventer stay to the opposite side of the foremast.
 
There are many different approaches to rigging processes by age-of-sail modelers and all of them are correct - as long as the result is neat and accurate - with all lines appropriately taut (or not). This consideration is very important when one adds sails to their model. Assuming a model's sails are mounted as "working sails," some running lines will be very taut, others, not.

Another photo showing the utility of the QuadHands jig. Pretty self-explanatory. In the bottom left corner, a spool of my Coats & Clark dark brown upholstery thread. I use this thread extensively for tying-off blocks and lashing lines. It is a polyester thread and not likely to come undone once secured. I've used this thread for all my models and so far (knock...knock...), so good: no loosened or unwound rigging lines- yet.

A few more photos of HMS Camilla's rigging progress.

Rigging fixed. In my previous post I showed how I tried to cleverly remove some random glue from a rope with a handheld lighter; it torched the line, burnt it. Sacré Bleu! Non-reparable. So, I stripped-off the line that consists of two leads wrapped around the upper post head at the crosstrees and started over. I'll never do that again.

A lot to see in this photo of the foremast rigging. At the bottom of the photo, the catharpins are laced and tied to the intersection with the futtock shrouds. The resulting tension created with this rigging step is quite critical to get right. All shroud lines on the foremast are now completed, upper and lower. The large single block holds the main topmast stay that descends to the base of the foremast. Setting each of these stay lines is a tricky business to achieve the right balance for line tension. With standing rigging, one needs to constantly double-check the alignment in three planes as well as insure that all the lines are taut - without skewing the angles of the mast components unnecessarily.
Another detail in this photo: I will mount the guardrail and remaining stanchions AFTER all the stays are run (including backstays). There are several lines that terminate to the small eyebolts at the aft area of this top. Mounting the guardrail (and its rope netting) too early makes attaching the subsequent rigging to the top's eyebolts very difficult.

Tying-off the main stay topmast violin block. These one-piece blocks are much easier to rig than attempting to tie two separate blocks together - particularly at this smaller scale. This detail is shown to illustrate the usefulness of the "QuadHands" tool for rigging. Here, two of the four flexible extension arms firmly hold the block and the rope in-place. The extensions reach almost 15 inches high from their base. This is very handy in many rigging spots. Here, this double block provides leverage to the lines secured at the base of the foremast; the rig is designed to tighten the stay line that runs upward through a large block at the tophead and then across to the main mast. The same rigging set-up will also apply to the adjacent Mainmast Preventer stay to the opposite side of the foremast.
 
There are many different approaches to rigging processes by age-of-sail modelers and all of them are correct - as long as the result is neat and accurate - with all lines appropriately taut (or not). This consideration is very important when one adds sails to their model. Assuming a model's sails are mounted as "working sails," some running lines will be very taut, others, not.

Another photo showing the utility of the QuadHands jig. Pretty self-explanatory. In the bottom left corner, a spool of my Coats & Clark dark brown upholstery thread. I use this thread extensively for tying-off blocks and lashing lines. It is a polyester thread and not likely to come undone once secured. I've used this thread for all my models and so far (knock...knock...), so good: no loosened or unwound rigging lines- yet.

A few more photos of HMS Camilla's rigging progress.

Rigging fixed. In my previous post I showed how I tried to cleverly remove some random glue from a rope with a handheld lighter; it torched the line, burnt it. Sacré Bleu! Non-reparable. So, I stripped-off the line that consists of two leads wrapped around the upper post head at the crosstrees and started over. I'll never do that again.

A lot to see in this photo of the foremast rigging. At the bottom of the photo, the catharpins are laced and tied to the intersection with the futtock shrouds. The resulting tension created with this rigging step is quite critical to get right. All shroud lines on the foremast are now completed, upper and lower. The large single block holds the main topmast stay that descends to the base of the foremast. Setting each of these stay lines is a tricky business to achieve the right balance for line tension. With standing rigging, one needs to constantly double-check the alignment in three planes as well as insure that all the lines are taut - without skewing the angles of the mast components unnecessarily.
Another detail in this photo: I will mount the guardrail and remaining stanchions AFTER all the stays are run (including backstays). There are several lines that terminate to the small eyebolts at the aft area of this top. Mounting the guardrail (and its rope netting) too early makes attaching the subsequent rigging to the top's eyebolts very difficult.

Tying-off the main stay topmast violin block. These one-piece blocks are much easier to rig than attempting to tie two separate blocks together - particularly at this smaller scale. This detail is shown to illustrate the usefulness of the "QuadHands" tool for rigging. Here, two of the four flexible extension arms firmly hold the block and the rope in-place. The extensions reach almost 15 inches high from their base. This is very handy in many rigging spots. Here, this double block provides leverage to the lines secured at the base of the foremast; the rig is designed to tighten the stay line that runs upward through a large block at the tophead and then across to the main mast. The same rigging set-up will also apply to the adjacent Mainmast Preventer stay to the opposite side of the foremast.
 
There are many different approaches to rigging processes by age-of-sail modelers and all of them are correct - as long as the result is neat and accurate - with all lines appropriately taut (or not). This consideration is very important when one adds sails to their model. Assuming a model's sails are mounted as "working sails," some running lines will be very taut, others, not.

Another photo showing the utility of the QuadHands jig. Pretty self-explanatory. In the bottom left corner, a spool of my Coats & Clark dark brown upholstery thread. I use this thread extensively for tying-off blocks and lashing lines. It is a polyester thread and not likely to come undone once secured. I've used this thread for all my models and so far (knock...knock...), so good: no loosened or unwound rigging lines- yet.

A few more photos of HMS Camilla's rigging progress.

Rigging fixed. In my previous post I showed how I tried to cleverly remove some random glue from a rope with a handheld lighter; it torched the line, burnt it. Sacré Bleu! Non-reparable. So, I stripped-off the line that consists of two leads wrapped around the upper post head at the crosstrees and started over. I'll never do that again.

A lot to see in this photo of the foremast rigging. At the bottom of the photo, the catharpins are laced and tied to the intersection with the futtock shrouds. The resulting tension created with this rigging step is quite critical to get right. All shroud lines on the foremast are now completed, upper and lower. The large single block holds the main topmast stay that descends to the base of the foremast. Setting each of these stay lines is a tricky business to achieve the right balance for line tension. With standing rigging, one needs to constantly double-check the alignment in three planes as well as insure that all the lines are taut - without skewing the angles of the mast components unnecessarily.
Another detail in this photo: I will mount the guardrail and remaining stanchions AFTER all the stays are run (including backstays). There are several lines that terminate to the small eyebolts at the aft area of this top. Mounting the guardrail (and its rope netting) too early makes attaching the subsequent rigging to the top's eyebolts very difficult.

Tying-off the main stay topmast violin block. These one-piece blocks are much easier to rig than attempting to tie two separate blocks together - particularly at this smaller scale. This detail is shown to illustrate the usefulness of the "QuadHands" tool for rigging. Here, two of the four flexible extension arms firmly hold the block and the rope in-place. The extensions reach almost 15 inches high from their base. This is very handy in many rigging spots. Here, this double block provides leverage to the lines secured at the base of the foremast; the rig is designed to tighten the stay line that runs upward through a large block at the tophead and then across to the main mast. The same rigging set-up will also apply to the adjacent Mainmast Preventer stay to the opposite side of the foremast.
 
There are many different approaches to rigging processes by age-of-sail modelers and all of them are correct - as long as the result is neat and accurate - with all lines appropriately taut (or not). This consideration is very important when one adds sails to their model. Assuming a model's sails are mounted as "working sails," some running lines will be very taut, others, not.

Another photo showing the utility of the QuadHands jig. Pretty self-explanatory. In the bottom left corner, a spool of my Coats & Clark dark brown upholstery thread. I use this thread extensively for tying-off blocks and lashing lines. It is a polyester thread and not likely to come undone once secured. I've used this thread for all my models and so far (knock...knock...), so good: no loosened or unwound rigging lines- yet.

OK, I now have the Saucy Jack kit available, as my boxes just arrived, and those were the only thing I was waiting for (apart from premium sail sets)
 
Saucy Jack – Barking Well-Smack – VANGUARD MODELS
 
All kits with optional sail sets now have a sail set included, with the premium sails as an optional extra. I am including the 'standard' sail sets at no extra cost, as the quality is not what I expected and do not expect my customers to spend a Penny on them. This has been a disappointing lesson for me - sail sets made by the same people who produce for other manufacturers do not 'gel' with the overall quality of the kits I offer.
 
The 'premium' sail sets are produced my Master-Korabel of Russia, and I was expecting a full shipment of all sail sets for all kits that have them. Unfortunately, yesterday, I only received sets for the Fifie and Zulu, and not Nisha, Erycina and Saucy Jack. I am OK for Nisha and Erycina for now, but would have liked the Saucy Jack sails available for the release of the kit, today. I am currently awaiting an ETA for these, but they are being produced and they will be available in the next few weeks.
 
The picture shows the model with the premium sails. I have two sample sets made and sent when developing these kits, and then order the production quantities soon after. These were ordered in February, so under normal circumstances, I would have had these available as stock already.

A few more photos of HMS Camilla's rigging progress.

Rigging fixed. In my previous post I showed how I tried to cleverly remove some random glue from a rope with a handheld lighter; it torched the line, burnt it. Sacré Bleu! Non-reparable. So, I stripped-off the line that consists of two leads wrapped around the upper post head at the crosstrees and started over. I'll never do that again.

A lot to see in this photo of the foremast rigging. At the bottom of the photo, the catharpins are laced and tied to the intersection with the futtock shrouds. The resulting tension created with this rigging step is quite critical to get right. All shroud lines on the foremast are now completed, upper and lower. The large single block holds the main topmast stay that descends to the base of the foremast. Setting each of these stay lines is a tricky business to achieve the right balance for line tension. With standing rigging, one needs to constantly double-check the alignment in three planes as well as insure that all the lines are taut - without skewing the angles of the mast components unnecessarily.
Another detail in this photo: I will mount the guardrail and remaining stanchions AFTER all the stays are run (including backstays). There are several lines that terminate to the small eyebolts at the aft area of this top. Mounting the guardrail (and its rope netting) too early makes attaching the subsequent rigging to the top's eyebolts very difficult.

Tying-off the main stay topmast violin block. These one-piece blocks are much easier to rig than attempting to tie two separate blocks together - particularly at this smaller scale. This detail is shown to illustrate the usefulness of the "QuadHands" tool for rigging. Here, two of the four flexible extension arms firmly hold the block and the rope in-place. The extensions reach almost 15 inches high from their base. This is very handy in many rigging spots. Here, this double block provides leverage to the lines secured at the base of the foremast; the rig is designed to tighten the stay line that runs upward through a large block at the tophead and then across to the main mast. The same rigging set-up will also apply to the adjacent Mainmast Preventer stay to the opposite side of the foremast.
 
There are many different approaches to rigging processes by age-of-sail modelers and all of them are correct - as long as the result is neat and accurate - with all lines appropriately taut (or not). This consideration is very important when one adds sails to their model. Assuming a model's sails are mounted as "working sails," some running lines will be very taut, others, not.

Another photo showing the utility of the QuadHands jig. Pretty self-explanatory. In the bottom left corner, a spool of my Coats & Clark dark brown upholstery thread. I use this thread extensively for tying-off blocks and lashing lines. It is a polyester thread and not likely to come undone once secured. I've used this thread for all my models and so far (knock...knock...), so good: no loosened or unwound rigging lines- yet.

A few more photos of HMS Camilla's rigging progress.

Rigging fixed. In my previous post I showed how I tried to cleverly remove some random glue from a rope with a handheld lighter; it torched the line, burnt it. Sacré Bleu! Non-reparable. So, I stripped-off the line that consists of two leads wrapped around the upper post head at the crosstrees and started over. I'll never do that again.

A lot to see in this photo of the foremast rigging. At the bottom of the photo, the catharpins are laced and tied to the intersection with the futtock shrouds. The resulting tension created with this rigging step is quite critical to get right. All shroud lines on the foremast are now completed, upper and lower. The large single block holds the main topmast stay that descends to the base of the foremast. Setting each of these stay lines is a tricky business to achieve the right balance for line tension. With standing rigging, one needs to constantly double-check the alignment in three planes as well as insure that all the lines are taut - without skewing the angles of the mast components unnecessarily.
Another detail in this photo: I will mount the guardrail and remaining stanchions AFTER all the stays are run (including backstays). There are several lines that terminate to the small eyebolts at the aft area of this top. Mounting the guardrail (and its rope netting) too early makes attaching the subsequent rigging to the top's eyebolts very difficult.

Tying-off the main stay topmast violin block. These one-piece blocks are much easier to rig than attempting to tie two separate blocks together - particularly at this smaller scale. This detail is shown to illustrate the usefulness of the "QuadHands" tool for rigging. Here, two of the four flexible extension arms firmly hold the block and the rope in-place. The extensions reach almost 15 inches high from their base. This is very handy in many rigging spots. Here, this double block provides leverage to the lines secured at the base of the foremast; the rig is designed to tighten the stay line that runs upward through a large block at the tophead and then across to the main mast. The same rigging set-up will also apply to the adjacent Mainmast Preventer stay to the opposite side of the foremast.
 
There are many different approaches to rigging processes by age-of-sail modelers and all of them are correct - as long as the result is neat and accurate - with all lines appropriately taut (or not). This consideration is very important when one adds sails to their model. Assuming a model's sails are mounted as "working sails," some running lines will be very taut, others, not.

Another photo showing the utility of the QuadHands jig. Pretty self-explanatory. In the bottom left corner, a spool of my Coats & Clark dark brown upholstery thread. I use this thread extensively for tying-off blocks and lashing lines. It is a polyester thread and not likely to come undone once secured. I've used this thread for all my models and so far (knock...knock...), so good: no loosened or unwound rigging lines- yet.

A few more photos of HMS Camilla's rigging progress.

Rigging fixed. In my previous post I showed how I tried to cleverly remove some random glue from a rope with a handheld lighter; it torched the line, burnt it. Sacré Bleu! Non-reparable. So, I stripped-off the line that consists of two leads wrapped around the upper post head at the crosstrees and started over. I'll never do that again.

A lot to see in this photo of the foremast rigging. At the bottom of the photo, the catharpins are laced and tied to the intersection with the futtock shrouds. The resulting tension created with this rigging step is quite critical to get right. All shroud lines on the foremast are now completed, upper and lower. The large single block holds the main topmast stay that descends to the base of the foremast. Setting each of these stay lines is a tricky business to achieve the right balance for line tension. With standing rigging, one needs to constantly double-check the alignment in three planes as well as insure that all the lines are taut - without skewing the angles of the mast components unnecessarily.
Another detail in this photo: I will mount the guardrail and remaining stanchions AFTER all the stays are run (including backstays). There are several lines that terminate to the small eyebolts at the aft area of this top. Mounting the guardrail (and its rope netting) too early makes attaching the subsequent rigging to the top's eyebolts very difficult.

Tying-off the main stay topmast violin block. These one-piece blocks are much easier to rig than attempting to tie two separate blocks together - particularly at this smaller scale. This detail is shown to illustrate the usefulness of the "QuadHands" tool for rigging. Here, two of the four flexible extension arms firmly hold the block and the rope in-place. The extensions reach almost 15 inches high from their base. This is very handy in many rigging spots. Here, this double block provides leverage to the lines secured at the base of the foremast; the rig is designed to tighten the stay line that runs upward through a large block at the tophead and then across to the main mast. The same rigging set-up will also apply to the adjacent Mainmast Preventer stay to the opposite side of the foremast.
 
There are many different approaches to rigging processes by age-of-sail modelers and all of them are correct - as long as the result is neat and accurate - with all lines appropriately taut (or not). This consideration is very important when one adds sails to their model. Assuming a model's sails are mounted as "working sails," some running lines will be very taut, others, not.

Another photo showing the utility of the QuadHands jig. Pretty self-explanatory. In the bottom left corner, a spool of my Coats & Clark dark brown upholstery thread. I use this thread extensively for tying-off blocks and lashing lines. It is a polyester thread and not likely to come undone once secured. I've used this thread for all my models and so far (knock...knock...), so good: no loosened or unwound rigging lines- yet.

A few more photos of HMS Camilla's rigging progress.

Rigging fixed. In my previous post I showed how I tried to cleverly remove some random glue from a rope with a handheld lighter; it torched the line, burnt it. Sacré Bleu! Non-reparable. So, I stripped-off the line that consists of two leads wrapped around the upper post head at the crosstrees and started over. I'll never do that again.

A lot to see in this photo of the foremast rigging. At the bottom of the photo, the catharpins are laced and tied to the intersection with the futtock shrouds. The resulting tension created with this rigging step is quite critical to get right. All shroud lines on the foremast are now completed, upper and lower. The large single block holds the main topmast stay that descends to the base of the foremast. Setting each of these stay lines is a tricky business to achieve the right balance for line tension. With standing rigging, one needs to constantly double-check the alignment in three planes as well as insure that all the lines are taut - without skewing the angles of the mast components unnecessarily.
Another detail in this photo: I will mount the guardrail and remaining stanchions AFTER all the stays are run (including backstays). There are several lines that terminate to the small eyebolts at the aft area of this top. Mounting the guardrail (and its rope netting) too early makes attaching the subsequent rigging to the top's eyebolts very difficult.

Tying-off the main stay topmast violin block. These one-piece blocks are much easier to rig than attempting to tie two separate blocks together - particularly at this smaller scale. This detail is shown to illustrate the usefulness of the "QuadHands" tool for rigging. Here, two of the four flexible extension arms firmly hold the block and the rope in-place. The extensions reach almost 15 inches high from their base. This is very handy in many rigging spots. Here, this double block provides leverage to the lines secured at the base of the foremast; the rig is designed to tighten the stay line that runs upward through a large block at the tophead and then across to the main mast. The same rigging set-up will also apply to the adjacent Mainmast Preventer stay to the opposite side of the foremast.
 
There are many different approaches to rigging processes by age-of-sail modelers and all of them are correct - as long as the result is neat and accurate - with all lines appropriately taut (or not). This consideration is very important when one adds sails to their model. Assuming a model's sails are mounted as "working sails," some running lines will be very taut, others, not.

Another photo showing the utility of the QuadHands jig. Pretty self-explanatory. In the bottom left corner, a spool of my Coats & Clark dark brown upholstery thread. I use this thread extensively for tying-off blocks and lashing lines. It is a polyester thread and not likely to come undone once secured. I've used this thread for all my models and so far (knock...knock...), so good: no loosened or unwound rigging lines- yet.

A few more photos of HMS Camilla's rigging progress.

Rigging fixed. In my previous post I showed how I tried to cleverly remove some random glue from a rope with a handheld lighter; it torched the line, burnt it. Sacré Bleu! Non-reparable. So, I stripped-off the line that consists of two leads wrapped around the upper post head at the crosstrees and started over. I'll never do that again.

A lot to see in this photo of the foremast rigging. At the bottom of the photo, the catharpins are laced and tied to the intersection with the futtock shrouds. The resulting tension created with this rigging step is quite critical to get right. All shroud lines on the foremast are now completed, upper and lower. The large single block holds the main topmast stay that descends to the base of the foremast. Setting each of these stay lines is a tricky business to achieve the right balance for line tension. With standing rigging, one needs to constantly double-check the alignment in three planes as well as insure that all the lines are taut - without skewing the angles of the mast components unnecessarily.
Another detail in this photo: I will mount the guardrail and remaining stanchions AFTER all the stays are run (including backstays). There are several lines that terminate to the small eyebolts at the aft area of this top. Mounting the guardrail (and its rope netting) too early makes attaching the subsequent rigging to the top's eyebolts very difficult.

Tying-off the main stay topmast violin block. These one-piece blocks are much easier to rig than attempting to tie two separate blocks together - particularly at this smaller scale. This detail is shown to illustrate the usefulness of the "QuadHands" tool for rigging. Here, two of the four flexible extension arms firmly hold the block and the rope in-place. The extensions reach almost 15 inches high from their base. This is very handy in many rigging spots. Here, this double block provides leverage to the lines secured at the base of the foremast; the rig is designed to tighten the stay line that runs upward through a large block at the tophead and then across to the main mast. The same rigging set-up will also apply to the adjacent Mainmast Preventer stay to the opposite side of the foremast.
 
There are many different approaches to rigging processes by age-of-sail modelers and all of them are correct - as long as the result is neat and accurate - with all lines appropriately taut (or not). This consideration is very important when one adds sails to their model. Assuming a model's sails are mounted as "working sails," some running lines will be very taut, others, not.

Another photo showing the utility of the QuadHands jig. Pretty self-explanatory. In the bottom left corner, a spool of my Coats & Clark dark brown upholstery thread. I use this thread extensively for tying-off blocks and lashing lines. It is a polyester thread and not likely to come undone once secured. I've used this thread for all my models and so far (knock...knock...), so good: no loosened or unwound rigging lines- yet.

Thank you Mike,
 The etched frieze designs on Sphinx are a tad finer than that used on Pegasus, but I followed the same procedure with Pegasus, and was very happy with that result as well.
I followed the method described  in 7.26 of Vo 11 of Tffm.
On Sphinx I used Vallejo acrylics, but I think I used oils on Pegasus.
You could always try hand painting on a  frieze wide strip of suitable paper and see which you like best. It's always nice to do hand painted stuff but painting the brass to make it look like paintwork satisfied my artistic needs.
 
Regards,
 
B.E.
 

Post One Hundred and seven
 
Completing the Foc’sle planking.
The inner bulwarks patterns were put into place following the kit blurb. The Cathead slot was then cut to match the outer bulwarks.
The Margin planks proved stubborn with initial attempts thwarted when the planks broke at the cross grain  of the sharp curve.
This was addressed by the simple expediency of applying sticky backed labels to the underside of the strip before cutting.
With the margin strips fixed the thin bulwark skins were glued into place.
 
At this point the decks were covered to hopefully limit as far as possible sanding dust dropping to the lower decks.

6413
The bulwarks are sanded level, but I had the Foc’sle gunwales handy to check progress.
 
There are only three strakes of planking along the bulwarks.
This involved a couple of hooded planks, as nibbing was not a general feature of this period.

6419(2)
Forming a hooded plank, cut out of 10mm strip and edge bent slightly to match the margin.
 
Planking completed, but it will require scraping and sealing.

6457

6456

6451

6453

6450
Still a fair bit of fettlin’ to do and more stuff to add.
 
I am thinking about removing the three paler hooded planks and try to find a better colour match. They keep catching my eye in an annoying sort of way.
 
B.E.
11/04/22
 

Post One hundred and eight
 
Snaggins.
Not for the first time I take a backward step and start ripping up the work I did the day before.
Why I didn’t stop when I sort of knew  the colour match wasn’t ultimately going to satisfy my eye I don’t know, a case of hope over experience perhaps.
 
It is not that difficult to remove planking without disturbing the adjacent planks. Dampening the strake and easing using a thin blade they can often  be removed intact.

6470

6472

6473
Another day to rectify what I should have done in the first place but I am now happy with the colour match.
 
Movin’ on.
 
B.E.
12/04/22
 

Post One Hundred and nine
 
Foc’sle fittings.
 
Belfry.
I have been looking forward to assembling this important feature on a ship model.

6496
This is a laser cut assembly of multiple delicate parts. In cleaning the char, I used very soft hands and a mini vice to prevent any flex during sanding. As I intend to leave the Belfry bright good cleaning is essential to show the Belfry at its best.
 
The Belfry on my Pegasus build is a little fancier than that supplied with Sphinx, and I can’t really let a sixth-rate sloop outshine a ship rated for a Post Captain.
 
On my build there will be little around the Belfry to distract the eye so there are enhancements that can be made and one that should be made.
 
The basic main patterns and canopy look fine, but I feel the supplied lower support patterns let the structure down. To my eye they look ugly and very obviously stick-ons, lacking the elegance of the Classic design employed during the 18thc on this feature.
 
The Headstock can be tweaked to a more stylish shape.
 
A crank arm can be added.
 
There is very little brightwork on my version of Sphinx, so I have indulged myself a little with the Belfry.
 As with Pegasus I intend to copper the Canopy roof, this will have the additional benefit of masking the layered assembly.
 
I’m not sure what the purpose of the two cleats on the aft face of the columns are for. On Pegasus two cleats are shown on the sides of the columns, indicated for the Fore T’gallant braces belay.  For Sphinx these are indicated belaying at the Foc’sle rail.
 

6497
I begin by replacing the lower support patterns, using 3mm x 0.8mm Pearwood strip to build up the base of the column fore and aft to reflect the chamfered pattern of the athwartships design.

6500
This instantly improves the look of the columns.
 
A shaped Headstock is cut from some 2mm thick Pearwood fret.

6507
The pattern cross bar is cut away from the Main pattern (scary) and replaced with a more stylish version. The bell fits into the base of the new Headstock.
The Bell is quite a nicely modelled Brass item.
 

6512
A Crank arm is formed using an old Hammock crane and fits into the top of the Headstock.

6516
Finally, the Canopy top is coppered using some copper foil tape also used for a representation of the metal strapping on the Headstock.
Still some fettlin’ to do and the support knees to add but overall I’m pleased with the result.
 
B.E.
14/04/22

 
 

Post One Hundred and Ten
 
Foc’sle Breast rail
More tiny little pieces to assemble and fit.
It’s these small fittings that soak up a lot of time, I have been fiddling with these for two days.

6518
Made more difficult by my deck modifications resulting in the need to tweak the support knees so that they sit on the carlings whilst retaining the above deck height.

6527
As with the Bitts the belay pin holes have been filled in.

6524(2)

6520

6528
The support knees for the Belfry are added.
Constant soft brushing is now required to keep the dust down, must try and find a small nozzle cleaner to get between the beams.
 
In the next post I return to the Cathead.
 
B.E.
16/04/22