cog

Good morning Eberhard and MSW friends, Judy and I are safe and well, we are focusing on our home and garden, I gave away the big sailboat Maria to the chap I originally got it from. I am not inclined to spend 3 hours driving for 1/2 a days sailing, plus all the expenses involved with yacht club and mooring fees.
 
The Cutter is right next to my model bench and in my face as they say so not far from my thoughts. My Mojo for working on it will rise again over the winter i am sure. I have been focusing on some old model train projects and trying to finish some of them up.
Regards Michael

Can you get me a HR shot from the river and one from your build so I can merge them together for you? The downward angle to river should be the same as to the model ...

Nice build on the other site. Still, would like to see yours

@garyshipwright
Hello,
I thank you for the recognition. 
Of course I also thank you for the many LIKES. Both motivate and give me confidence to continue.
 
Moques de conduits: Mizzenmast
I almost forgot about them, the signposts blocks for the mizzen masts:  

Very nice. Beautiful work.

I thank friends for their appreciation and I keep updating the work to finish the model,
 
In 1492 the nights on the ocean sea had to be very dark (especially with the new moon) to contrast the darkness and to signal the ship, both for the Santa Maria and for the ancient boats the laterna assumed a fundamental role, consequently in its realization the 'aesthetics and form became of significant importance, in the construction plans of Adametz it is shown very schematically so I tried to find some material for more information but the differences are considerable so I decided to follow the design and photos of two models reproduced years ago for commemorative purposes, certainly its realization would have been a particular "challenging" since the piece is a "multi-composite" both for details and materials,I am attaching the image of the Santa Maria made for the commemoration, where the bow is visible at the stern

 
I started with the realization of the large candle placed inside the lantern, I used 0.8 mm brass wire, with the "red" tinfoil of the chocolates I made the "flame" (the usual one used for coals ) while with white rolled paper I made what the candle should be, while the two hexagonal parts on which the internal part of the lantern is developed are in 0.5 mm wood

 
on which the six faces of the lantern develop, always made with wooden foil, with the blister boxes I cut out pieces with the intention of imitating the glass placed over the openings, finished their placement I painted them with antique gold paint to frames

 
I made the two external hexagonal bases on which the "twisted" uprights will fit together (which I made with two copper wires twisted with the screwdriver)
 

 
finishing the two pieces made with the small lathe and which will be positioned with gluing above and below the bases,

 
mounting the pieces made separately

 
welding the cross
 

 

 
the lantern was finished, but it was necessary to make it "aged"
 
so I burnished some parts, then I used the "copper sulphate" which is used on the vine plants to protect them from mold, the color is perfect and sticks very well on the treated surface

 

 
the final result was satisfactory!
 

 
see you next time
black Wolf

How's moving been? Got the ol' lady on a workable bench yet ...

Can you get me a HR shot from the river and one from your build so I can merge them together for you? The downward angle to river should be the same as to the model ...

Started another violin? ...

Hope to see the result in your buildlog. Make a putty imprint from the part so you have a mould. Another option, come to think of it. Make a fitting mold, and cast the part(s)

Since the parts are oversized, couldn't you cut it - where indicated on the image - and glue it to the frame. That way you will loose most of the space between the parts, and make it fit.

Nice build on the other site. Still, would like to see yours

Can you get me a HR shot from the river and one from your build so I can merge them together for you? The downward angle to river should be the same as to the model ...

After a break, due to problems with work and "restructuring" of the laboratory, I update the completion of the Santa Maria with photos
the first step was to tie the two lifeboats on the deck, it was not a simple thing the spaces are very small, I think at the time the lifeboats were "towed" because with them the space on the deck is minimal to do everything,


 

 
 
I made some details, anchors, buckets, mooring sticks, which were placed inside, so as not to go out of scale I used "the slim" as a reference
 

 
details were still missing, but the profile of the ship was finished

 
a long time ago, I had built the rifles that are placed on the ship's side...
finally it was time to place them
 

 
the brass chain with 0,5mm links, is the only thing I bought, I tried several times to make it, but I had to give up
 

 
the chain and the "falconetti" (name that indicates small cannons in Italian) have been treated with burnisher
 

 
under these conditions, they would have punished the sailors for neglect of their weapons ... so I passed some oil on the barrel
the skinny next to the arms to check the report,
it doesn't seem bad to me

 

 

 

 
we are almost at the end,,,

see you next time
black Wolf
 

Continuation: Ratlines - Enfléchures
With the lashing of the shroud ladder, the mizzen mast shrouds of the French corvette on the port side, including ratlines, could be completed. 

 
Now we continue with the ratlines for the starboard mizzen mast shrouds.
See you soon ...

don't fall ...

Finally the changes to the stern of my Syren are finished. The gun ports are closed (img 1), the long guns are back in place and rigged (imgs 2 and 3), and the jolly boat is in its final position (imgs 4 – 8).
 
Thomas
 

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Wonderful work, Hellmuht. The sewing gives it a completely different look from most models.

Let’s keep going with the advances.....
 
I’ve been working in the deck.  The central zone will be full removable and I have done just half of it.   It will allow all the hull sewed been sewing.......
 

 
 
It is sewed also.... at the same time I’ve working in the bow and stern deck but these are just “presented” since I need to work in the external hull, finish the hull sewing...
 

 

And then they will be fixed/sewed.

Take look how it is looking so far.....
 

Some pictures with advances.....

It has the must of the beams and the mast “support”, when it is not with sail.....
 

SO FAR!!!!! JUST GLUE IN THE HULL!!!! ALL THE ELEMENTS HAVBE BEEN TIED UP. ....😀
 

@Vladimir_Wairoa
Hello,
thank you very much for the kind words and thanks to all the others for the many LIKES.
 
Continuation: Ratlines - Enfléchures
It's been quite a while since I finished the ratlines for the main mast shrouds. Especially with monotonous work, it is good for motivation to deal with other details, such as the signpost blocks, in between and thus provide variety.
Meanwhile I am again dealing with the ratlines, namely those of the mizzen mast shrouds, as you can see on the following pictures. The binding of the eye splice at the first and last shroud I have already described in detail in previous reports.

 

 

That's a great idea and an exellent realisation! Well done sir.  

Coming along quickly! I use acrylic matt medium to seal material from bleeding or fraying at the edges when cut. As it dries clear, no worries.

Thank you George. It's always been an area of uncertainty for me. I normally bypass the problem by writing dromons, but there's always that niggling doubt that I'm doing the right thing with it . . .
 
I learnt Ancient Greek for a year about 20 years ago, with the idea of using it to read Byzantine manuscripts. I enjoyed it very much and I wish I'd been able to go on but life got in the way, so I never had a chance to get back to it. I got to use it only once - I was in Athens at the base of the acropolis. There was a tiny church there made of bits of marble and discarded stone. I asked a workman "What church is that?" (τις εκκλησίας? - Ancient Greek, remember) and he answered Άγιος Γεώργιος (Saint George). Big triumph for me - actually got to have a conversation (no matter how short) in Greek!
 
There's been movement at the station. I've attached the sails with robands and furled them - the after sail completely furled and the foresail in the process of being unfurled. Topmen dry fitted.
 

 
And here they are in place. The fore halyard is pretty much done and the truss which holds the yard to the mast is in place. (I tried this out a couple of months ago to see if I could do it and had a lot of trouble -it all seemed so complicated. But I must have absorbed the information because this time it was quite easy.)  I still need to do more work on the after yard.
 
 
    
 
Here's the fore yard, with the topmen undoing the gaskets. It's occurred to me that it would probably be good policy to undo the central gaskets first, to get access to the sheet - so it didn't fly around out of control when the whole sail was unfurled. 
 

 
 
 

 
 
And the after yard in the process of being hoisted. When the model is displayed that's how it will be, with the yard halfway up the mast and the other guys I carved hauling on the halyard.
 

 
 
 
Still quite a lot to do. I have to work out the belaying for the tacks - it looks like they need to pass through an "open" fairlead a fair way in front of the mast (to control the front end of the yard in normal sailing conditions) and lead to a ringbolt or something aft of the mast, so the yard can be pulled back far enough to pass behind the mast when tacking. I also have to do the vangs at the other end of the yard and work out where to belay them.
 
I know standing rigging usually goes up first, but I'm leaving the shrouds till after all this is done - I think that will make the work easier, so they don't get in the way while I'm working on the rigging for the yards.
 
And I've started making the new (cloth) banner to replace the metal foil one that self-destructed a few months ago. After my experience with cutting out the sails, this time I taped the fabric to a bit of board before I started. I'll cut it to shape after I've finished painting. I'm using acrylics, which worked well when I made the awning for the poop. I first painted the whole thing with white acrylic so it wouldn't "bleed", and I was pleasantly surprised to find the pencil marks still showed up,
 
 
 

 

 

 
I've done two coats of pink and one of blue and of white. I'll add another blue coat and go over the white border and cross again. Then I'll do the red for the other "tails". I'm hoping after all that it won't be too stiff to put a "wave" in it so it looks like it's fluttering.
 
 

Pat, I out something together on these tools:
 
Staking and jewel-setting tools
 
In watch- and clockmaking connections between parts are frequently effected by processes that broadly fall into the category of rivetting, i.e. the mechanical deformation of a part in order to effect its locking with one or more other parts.
 

 
Watchmakers use for this process a tool that is called staking or rivetting tool. It consists of a body shaped a bit like a pillar drill. It has the purpose of guiding the rivetting punches or stakes absolutely perpendicular to the plane of the anvil underneath it. This tool can be used for all sorts of rivetting, punching, pushing-in, pushing-out and similar operations. To this end a set is equipped with a wide variety of flat, domed, concave, hollow and other, specialised punches. There are also varies types of anvils, flat, domed, with notches for watchwheels and –hands, etc. The anvils fit into a rotating plate and can be centred with a pointed punch under the guiding bore for the punches. The rotating plate has also a set of holes (or dies) that are mainly used to support wheels, while the arbors are being pushed out.
 

 
There were/are various manufacturers for these tools in Europe and the USA (and I guess now also in China and India). Notable brands are Boley and K&D. The sets were made with different ranges of punches and anvils. Mine shown in the picture is one of the bigger sets. About 25 years ago it set me back the equivalent of 250€, if I remember correctly.
 
 
Related to the staking tool is the jewel-setting tool. In fact, some manufacturers offered jewel-setting attachments for their staking tools, but these are rare today and to tend to fetch high prices on the second-hand market.
In order to reduce friction the hardened steel axels in a watch are set into bearings made from hard semi-precious minerals, the ‘stone’, ‘rubies’ or ’jewels’. The jewels in turn are set into the watchplate and locked into place by friction only or by a light rivetting, i.e. closing-in the metal around the jewel with a pointed hollow punch. Incidentally, the same technique is used to lock watch wheels and pinions onto their axles.
The ‘jewels’ are made by specialised companies to standard sizes and tools to make the respective holes in the watchplate are made to the required tolerances. The ‘setting’ of jewels has to be done with great care to ensure that their axes are exactly perpendicular to the watchplate. They are rather brittle, so one has to make sure that no pressure is applied to them once they reached the bottom of the hole into which they are set. To achieve this the jewelling or stone-setting tool was developed. Like the staking tool, this comprises a guide for the punch and a seat for anvils. However, the runner for the punches is fitted with an micrometer stop, preventing the punches from being pushed down too far. The punches in this case are actually inserts for the runner. The body is usually die-cast zinc, rather than steel, as not much force needs to be applied during the jewelling operation. Perhaps the best-know manufacturer is Seitz.
Normally, complete jewelling tools with punches, reamers for the holes, anvils etc. are rather expensive. Some years ago I acquired cheaply just the basic body of a Seitz tool with the runner, but without all the attachments. The idea was to use it as a light press to allow e.g. squashing wire to a predetermined thickness with the help of the micrometer stop. The target thickness can be set with the help of feeler-gauges or pieces of wire.
 
Over the years I made various punches and anvils for particular forming purposes. When making the brake-handles above, I should have used this tool, but was too lazy to turn up a 0.8 mm insert punch.
 

 
Overall, I think these are quite useful tools for the modeller, although I have been using so far only a small number of the many punches provided in the staking set, but one never knows what task comes along.