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shipman

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Everything posted by shipman

  1. shipman
    Here's what is probably another old turkey! Was there ever a 'standard' belay pin size and shape, say in the 18th and 19th centuries? If so, what were the proportions and dimensions?
  2. shipman
    Wefalk, how right you are about the 'dark, pre-internet days'. Looking back perhaps 30 years, nearly all schools had well equipped workshops often running night classes. Long gone. My oldest friend is my school metalwork teacher. He was one of the old school and it was sad to see how he didn't cope with the changes in his field. The workshop environment totally went out the window. All his skills and equipment suddenly became 'redundant'. He's getting on now, but is still willing and happy to share his time and knowledge with an appreciative 'student'. Sadly, they are rare as hens teeth.
  3. shipman
    Mark, thank you for the 'how to' site, just had a quick skip through the contents.....just what I need. I'd like to say; I'm relatively new to the forum and periodically smooch through old topics and find myself re-activating what to some are old news. Each time I get involved, it seems to prompt new activity in a subject. I do enjoy methodically working through forums; often coming across topics I never knew I needed to know about. And to me, that's what the forum is all for. A delightful feature of my questions puts me into 'indirect' contact with the 'old hands' who invariably share their knowledge and experience freely. These members frequently put their input (perhaps for the umpteenth time) which must sometimes be frustrating. My appreciation to this community is profound. You are a fine bunch. Thank you.
  4. shipman
    BETAQDAVE , I've been doing that for years too. Even done it with copper, brass, alloy and the odd bit of iron and steel. I never kidded myself there was any precision involved, but with care it's amazing what can be done with the simplest of tools. If you can find some old magazine features from the 20's, 30's and 40's those guys mostly had nothing but enthusiasm and imagination. Hell, I was involved with producing a book called 'Engineering Through Trouble'. The story I remember most was a wartime aircraft factory, building a prototype. They needed a new air-screw spinner, quickly. The tool shop began listing the new press tooling etc. they'd need. Argh! The cost! The time! One guy says 'Get old Burt from the factory floor to take a look'. So they talk to Burt, who looks at the drawings. He takes a sheet of aluminium and sets it up on a lathe. He'd trained as a metal spinner in a pan factory before the first war. An hour later he pops the new spinner on the board room table. To everyone's astonishment it was nigh on perfect and turned within a thousandth of an inch to the drawings! Burt had been sweeping the floor over ten years. And that's the truth.
  5. shipman
    Thank you all for your kind advice and contributions. Now these lathes have bubbled up to the surface, I'm actually excited. Can't remember having that for a while either!
  6. shipman
    Of course, I hadn't completely forgotten what I had. Simply, I hadn't a job to put them to use until now. I'm one of those inveterate collector and hoarder of all that has future potential. It's a cross I'm happy to bear, as is the derision from those I know who will never ever understand. My biggest problem is knowing I have something but not entirely sure of its whereabouts! By the way, what do these split cartridge collet holders look like? I wouldn't be surprised my heap of 'bits' includes one or two.
  7. shipman
    40 years ago I was fortunate to have a brief but enjoyable period being a general dogsbody in a UK museum with access to all areas. Having an intelligent (?) and curious disposition, I found the staff welcoming and generously happy to share their work. The museum had a vast collection of disparate objects, nearly all of which required attention of some sort or other. As always, the staff were thin on the ground, with limited budgets. So, their policy was to assess what needed the most urgent PRESERVATION. Often it was decided that to arrest terminal decline, some intervention was needed. So long ago, they were of the general opinion that such work would be done sympathetically but in a way that the work they did would be clearly obvious to future conservators, who may have the resources to do the job to the standards of their day. The important mission was to PRESERVE an object and make it available for future research. A happy time.
  8. shipman
    WOW! Quick responses or what? Much appreciated guys. I just pulled out the roll out set of (ex bank) drawers, which has been hidden under my worktop for 25-30 years. My-my, what a find. Indeed I have an SL and a Unimat 3. And HEAPS of associated bits and bobs, which will probably take a full day to rummage through. The big 'find' is an original manual for the '3' and a copy of 'The Book of the Unimat' by D. J. Laaidlaw-Dickson. I'm gob-smacked; I knew it would all come in useful one day, LOL. So things are looking up for a change. The nice feature of the SL is the adjustable 'head' for cutting tapers. I'll have to look into a bit of basic servicing. The SL is fitted with a home made tool holder but the '3' has a complete tool holder. Do you know if I can put or adapt that for the SL? Thanks for your encouragement; it would seem I've now got a little winter project to have fun with.
  9. shipman
    Hmpf! I've had two Unimat lathes for years, an SL and a later white enamel square shaped thing. I understand these are capable of tackling clock/watch work, so I would imagine 8mm brass belay pins would be possible. The trouble is, I've never used a lathe, so haven't a clue where to start. Speeds? Cutting tools? For such a 'simple' job I am in danger of over complicating what needs to be done. I've been toying with using an electric drill and files (which should be possible), then I remembered I have these lathes tucked away. Any advice please?
  10. shipman
    Has anyone actually bought one? And............
  11. shipman
    Just blown the dust off my copy of the Longridge book, now there you go, that seems to be a comprehensive definitive thesis on the rigging of his famous rendition. The model used to be in London's Science Museum; shame it's gone. I think you can count the photo's of it online on one finger!
  12. shipman
    Just found this build. Words fail me. Seeing is believing. Amalio, your work is unreal. If I had 10 lifetimes, it wouldn't be long enough. I weep at your feet.
  13. shipman
    And you think that restoration went bad. Here's another.
  14. shipman
    Got rid of a bad case of dandruff !
  15. shipman
    Before someone jumps down my throat after my last post, all my comments, plus much more, is well documented and can be found if the trouble is taken to find it. I don't wish to spoil anyone's party by being Mr Miserable, on these issues. I regret that I've never had the resources to visit 'Victory' in person, but still wouldn't hesitate given the chance.
  16. shipman
    I understand (from well known books on the subject) that a high percentage of Victory's external fabric is actually younger than me! Not so long ago, during another of these multi-million re-furbs, large areas of outer hull planking was replaced; suitable timber was both too expensive and hard to get, so a super-duper 'laminate' was used (effectively massive 'ply-wood') at equally high expense. It turns out that needs replacing already! Much of the cordage is of modern synthetic material, supposedly proof against u-v light damage. Anchor cables and shrouds couldn't be found in correct dimensions, so that's all undersized. The mounted anchors and guns are fibre-glass in attempts to relieve the burden on the hull. The lower masts are in fact iron from a much later ship. The list is almost endless. Unfortunately, this constant replacement of structure allows the ship to distort and indeed 'wilt', even though a lot of work to minimise this is undertaken. Ultimately it's a lot like grandfathers hammer; 'the shaft has been replaced three times and a new head fitted'. We still have a magnificent spectacle of an 'icon'. What could we replace it with? A new one?
  17. shipman
    Ah yes, the evocative aroma of Humbrol enamels. Revel had their own in suspiciously similar ''tinlets.'' Recently I was talking to someone in the trade, to be told they shared the same manufacturer! Fortunately I still have (unopened) most of the range of colours. No doubt they'll be little collectors items in their own right, even though the contents will probably be solid now.
  18. shipman
    I for one hasn't been to either museum since ... or the Cutty Sark.
  19. shipman
    Yes. Its a national scandal that the NMM and the Science Museum have removed such fine collections from public view. Don't know what excuses they have, but from the grape vine, the SM hit a point where the dedicated ship staff came up for retirement and weren't replaced. Longridge must be turning in his grave.
  20. shipman
    ''Nobody expects it to last longer than what it does''. Forgive me Bob, I just cracked up at the irony there. I do agree with your philosophy.
  21. shipman
    Bob, I have a few plastic model kits built up to 30 years ago. Apart from my catastrophic dropping of a few, they look as if they were built yesterday. Gregory, I'd say that paintwork is untouched, other than years of dust and smoke being removed. Once I was lucky to get a look at paintings in the National Portrait Gallery, London, where cleaned areas were next to un-cleaned areas, with no other 'restoration'. The results were truly astonishing.
  22. shipman
    Here you go: a few photo's which show just some of the deterioration of the 'Longridge' model. Notice the hull planking parting and splitting under and where the chain-plates anchor to the hull. The distortion of rope coils on deck, indicating possible changes in humidity at some point? Apologies to whoever put these fine images online for us to enjoy.
  23. shipman
    Longridge had to suspend work on his 'Victory' during WW2. In his book he tells how the only place of safety he had available was an unattended, damp cellar in Portsmouth or Plymouth. When I was able to take my last look at his model, I felt that the overall tension of the rigging over time and the inevitable expansion and contraction of the entire structure combined to a point where something had to give. Observing cannon balls scattered around the case, it seemed to me that whatever was happening was a series sudden events that went ping. Result....balls everywhere. I downloaded photo's to illustrate what I mean, so I'll try and find some to share. Unfortunately I won't be able to attribute them. Watch this space.
  24. shipman
    I agree, Bob. Ultimately, everything degrades. It's the properties of physics (entropy) I guess. I think it's important to not loose sight of the fact that many of us enjoy the process of 'doing', hopefully to a level we find satisfying. As often happens, once we shed this mortal coil, the things we personally value now will be in tomorrows dumpster. It doesn't mean we can't enjoy what pleasure we can while we are here. The model-makers in the 17th century, I'm sure, would be amazed and delighted that we can appreciate their work today. But oh! How much has been lost? Sometimes I get a chill when I think what would be destroyed if just one of the major collections was lost through fire or some other disaster. There aren't that many. It's like most of these 'eggs' are in a few scattered baskets. We are fortunate and lucky to have what there is. It's our love and enthusiasm which is the best preservative of all.
  25. shipman
    Looks like you're the Guru, Bob. Good to hear your input.

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