BANYAN

That's a 'corker' of an idea (sorry have been resisting for some time - must be silly Monday Good idea to tuck away in the 'useful' ideas catalog - thanks Pat

Hi Mark, sorry to complicate the issue but also take a look at the article re threads for ropemaking in our articles area. Unfortunately, in the research I have done so far (at least here in Australia), many of the thread manufactures do not comply with the general sizing standards. For instance some number 0-100 as smallest to largest, and some vice versa, some use another system all together. Depends on the manufacturer. Also, some manufactures only make the full range of sizes in a limited number of colours - I have found blacks to be most affected with the good quality stuff limited in size range, forcing me to dye the white/ecru. The other part of the equation, depending on the ropewalk you use is whether you wish to maker Right-Hand-Lay (RHL) or Left Hand-Lay (LHL) scale rope. I have found a lot of RHL thread, but very little LHL to use as the start point for RHL (with the design of ropewalk I use); otherwise (as like me) you may need to make up some LHL first, then re make this into RHL. This too will govern the final output (especially consistency if not evenly tensioned each run etc). However, it appears that with some other designs of ropewalk, this is not as problematic. I have also found that anything with any polyester/man-made in it (poly-cotton blends etc) tends to stretch depending how much tension you put on it; this can also change the output size. I have found that 100% cotton (especially Egyptian or long strand) cottons have worked best, and that if they are mercerised (no fuzz) they make better rope with consistent size, little stretch and very little fuzz. As Chuck has also pointed out, minimal tension on completion to 'set' the rope should be all that is required and that only for some thread. Just some food for thought cheers Pat

That looks really good Hornet, no sign of bubbles etc from the two-part mixing and curing? That is the only problem I had with my method using the liquid gloss/water (which may not be flexible also). I'll have to give this stuff a try. Any ideas on what to add to give the slightly cloudy look of glass back then? I have the same problem with the liquid gloss I used - too shiny for that period (personal taste) but this looks easier than doing it with the other stuff. cheers Pat

That my friend is a superb display of skills - simply stunning. cheers Pat

Folks, In his scratch build of HMS Kingfisher, Remco identified a ceramic heat board with pins that he uses as a jig for soldering - see this post for one of its uses http://modelshipworld.com/index.php/topic/18-hms-kingfisher-by-remco-1770-english-14-gun-sloop-pof-148/page-56 The ceramic board and pins are available at: https://www.fohrmann.com/en/modellbau-loetwerkzeug/soldering-plate.html (no commercial ties etc...) I think it is a great idea, however, for Aussies at least, while the price was OK at Euro 25 (about A$37) the asking price for sending it here was Euro60 (can you believe that for such a small and light product)- I queried this but quick as a flash NO response Looking around, I found a very similar product (much cheaper at $A18) at http://jewellerssupplies.com.au/honeycomb-ceramic-solder-board-122mm-80mm-p-2060.html you will need to source the pins elsewhere but I think brass wire of the appropriate diameter (1.5mm in this case) would work? Hope this is of some value to members looking at the various soldering issues and solutions. cheers Pat

I am sorry to say that I haven't but that looks quite interesting. I will have to hunt it down and have a quiet read (sounds like a relaxing Christmas break activity cheers Pat

Welcome aboard Lee; you're off to a very fine start mate. that is some very good joinery you have displayed. cheers Pat

David, try Googling "Scary Sharp" sharpening system. Works generally on the same principle as this tool but will only cost you the price of sandpaper and a honing guide. I went to glass merchant and asked for an off-cut or two of 1/4 inch float glass to use as the flat base. Simply glue the various grades of sandpaper to the glass and away you go! Works a treat, once set up is very quick and easy to use. I still use a very fine wet-stone for honing though. cheers Pat

Well, you seem to have mastered that technique pretty well Rusty. Nice run of planking. cheers Pat

Sam, I found the article by member "Adrift" which I have added some detail to and tidied up. I hope it is of some use to you or others. Admin/ Mods please place this in the Article section if you think it worthwhile. cheers Pat Glazing Ship Windows.pdf

For the glass in my Endeavour build I used a two-part epoxy called 'liquid gloss' (another is called liquid water) which I purchased at a local craft store. The trick is to do it in several layers to build it to the required thickness, and to blow across the top of it after pouring it into the mould (framing in this case) to remove any micro-bubbles. My description is at: http://modelshipworld.com/index.php?/topic/400-hmb-endeavour-by-banyan-al-160-circa-1768/?p=4039 There was an article on this written by another Member and myself on the site, that incorporated the use of of artists (clear) medium to help with the levelling, but it may have been lost in the 'great crash' of MSW 1 - I will have a dig around my archives (if I remember) and see if I can find it again. Just another way. Pat

I understand the sentiments you express re the greater sense of personal achievement with researching and building ships that are not so well documented Sharpie. I am researching a build for our club (HM Colonial Steam Sloop Victoria); a ship which by pure dumb luck we located the only existing plan (single sheet - waterlines, half breadth and profile but no general arrangements etc) that we are aware of (privately owned). We can locate nothing in our Government records or in the UK (NMM or the Colonial Office) as we have searched high and low. Except for a couple of photographs, a couple of lithographs and the Contract we would not have much to go on. Luckily using the contract we can determine a lot of the fittings of the ship, but it is pure conjecture on their configuration and arrangement A rewarding challenge as it is all coming together nicely. Good luck on the research for this one, I have always had a bit of interest in this era of ship building and very much enjoy novels written around this period of history. cheers Pat

You've been busy Ron, she's coming on nicely. Mate, if not too late, one thing I have learned from experience is not to fit the capping or edge strip to the channels after you fit the deadeyes - just let them rest in the slot temp held in place with some painters or low-tack tape. I glued the strip on and all was fine for many months until I started rigging. When I fitted the shrouds to the deadeyes, a couple of my weaker chainplate joints gave way and I had to remove the edging to repair the chainplates. That proved a little difficult and I was lucky doing any real damage but it was a real m%&*#$@ to sand the edging to align with the top/bottom edges of the outer contours of the channels again. A lesson I have stored away for future builds cheers Pats

Hi Sharpie, an interesting build you have going here; I'll follow with interest. Unfortunately, in this area I know about --- well zilch actually - so I am a bit of a voyeur on this build journey. cheers Pat

So when do you get your 'journeyman' papers Mark - nice bit of work there! cheers Pat

Nice to see that update John, she is coning along great cheers Pat

Alex, the detail that impresses me most is that even at macro photography level your work does not show any blemishes and we all know how much such detail can be seen with the lens that the ye would not normally see - that is IMPRESSIVE! cheers Pat

Hi David, I have not used that plane so cannot provide a recommendation either way, but I have two veritas planes I just love. I also use IBEX finger planes. IBEX also make luthier's (or finger) planes, some with a curved, some with a flat sole in various sizes. Good quality but a little on the expensive side (they have come down in price in the past year or two down here anyway). In Australia they are available through CarbaTec (http://www.carbatec.com.au/ibex-violin-makers-planes_c6560) - no associations etc. I am sure there are many other sources though; here is just one http://www.lmii.com/products/tools-services/planes/ibex-finger-plane cheers Pat.

Thanks for the link to the article Bob, an interesting read. cheers Pat

Hi Mark, won't bending it change the shape of the notch? Perhaps that is recoverable though as if it is in the centre there should not be much bend there? cheers Pat

If it wasn't a challenge Mark, it would be no fun cheers Pat

Thanks Druxey - I need my wake up pills I completely missed that - thanks for the pointer Remco cheers Pat

Hi again Remco, Would you be able to identify the soldering block and pin jig you use (see a copy of your photo below) - Is this home made (drilled) from a solder block or is it a commercially available product please? It looks commercial, but with your skills I would not put this past your abilities It looks a very useful jig for such jobs. Many thanks Pat

I apologise upfront if this is slightly deviating from topic as it was titled torch vs iron - sorry if I am hijacking your thread Richard. If thought necessary, I will move this discussion to a new thread but I thought it sort of fits here? Recently I have been investigating resistance soldering and would appreciate any feedback/experience of users. There are some uTube and other threads out there on the web that show that resistance soldering provides sufficient heat for hard (silver) soldering (for smaller jobs). One major advantage being that you can solder several small bits close to each other without damaging the other joint even without using different melting point temps. As I will only be using this for small work such as eyebolts, chainplates and some photoetch joints, I think the power (thermal output) is sufficient with a 250Watt set. My main concern though is when doing longer seams in photoetch etc in that as the heat is very localised , whether you can draw the solder far enough through wicking along the joint even by dragging the probe (electrode) along the joint. Anyone have any experience with this? While this aspect might be problematic for this type of soldering activity, it is very beneficial (near perfect) for spot soldering of eyes and closely located parts on a small job such as a spider band etc. Of particular benefit is that by testing and selecting the appropriate temp it is even possible to solder white (Britannia) metal - try that with a torch cheers Pat

Hi Daniel, I can't offer any advice WRT cabin positioning etc, but agree with Druxey that nothing should impede, or potentially impede the tiller arm and associated tackle. This begs the question of how on earth they worked those guns especially when not run out. The men would have been ducking and weaving with a constant eye on the tiller arm which would have distracted from their primary duties Is the photo deceptive (foreshortening) or is the tiller arm well above the level of the gun and the heads of the gunners? Would this also have governed the height of any canvas partition? Sorry to complicate your question cheers Pat