Jaager

I was describing some of the English 18th century versions of cants that I have seen. The "no butts" part was about a model shortcut, as I was flashing on how to do the timbers. It was not about actual practice -sorry for the misinformation. Not many of the Navy Board framed models from the later 17th century seem to have replicated cant frames -I take my inspiration from them, so I do not model cant frames. Flying a black flag here, I will admit that I have little interest in modeling any structural part not visible from a completely planked and completely decked hull. The below the wale open framing is an obsession of mine, but I do that with an eye towards Art, rather than literal replication. My money is on the actual internal structure of most ships being a lot irregular and not all that pleasant to look at. The regularity and neatness of the plans was probably more of a wish. There was probably a focus on economy and practicality and making do with the stock on hand. Building demonstration models for shipbuilding classes of teenage midshipmen I will leave to others.

Buxus is yellow and the there is not much difference in Spring and Summer wood and the rings are narrow and close together - slow growing - very hard. A look on line will display a variety of cultivars - tall and slender to low growing and wide spreading - with a range in between. It is probable that there will be minor differences the nature of the wood. Holly - I have wood from a cultivar with a yellowish color. The wood is almost grain free in appearance - white or yellow - it bends easily. If snow white in color is not of interest (and no wood ever used to plank a deck was close to being as white as Holly), even the Blue mold infected pieces will work for most everything. It is said that it takes up dye well enough to be an excellent substitute for Ebony. If there is a local company that harvests Holly, they may give you their infected wood for free. Their customers want the white color only. They do not care that the wood is still just as sound. You should check the Pisgah region for Dogwood. Cornus florida is also about as hard as Boxwood. It does not have a trunk large enough to supply practical framing or planking stock for a model above miniature scales, but for carving and deck furniture, yards and other small delicate components, it is worth the effort to harvest it.

I have not seen any that are double. The cants are generally single and mostly near straight, so one piece of timber will cover the length. No butt joints. Each heels to the deadwood at a different angle and all of the edges sit against the neighbor on either side. A folding paper fan sort of effect when viewed from above. The goal is to have the face square with the main waterline. This saves wood and the bevel is at the heel. My money is on there being a liberal use of chocks in the space between each frame. I do not employ them. I stay with whole bends up to the FP. In most of the zone where cants are, I use solid wood where the spaces would be. There is significant bevel and a lot of loss of wood. At model scales, this does not matter. With the chocks in the real ship, the side view was probably close to my solid wall zone - except that the bevel makes each frame appear to be much wider than a cant frame.

The situation is that there are two schools of thought on this subject here. School Tradition: Use the proper species of wood to begin with. That is wood with pores that are too small to present a visual problem. Primer is an inexpensive material with a function to reduce the number of coats of paint or clear coat by one. Half concentration shellac is a primer that is compatible with any type of clear coat or paint. Full strength shellac is an excellent clear coat - as long as it is not exposed to water - like a sweating cocktail glass. Shellac with a bit of linseed or tung oil is French polish. Shellac has two primary flavors: garnet and near water clear. It comes either premixed (Zinsser) or as dry flakes. Alcohol is the solvent (usually ethanol). The wood can be colored using a aniline penetrating dye - if grain still visible is desired. Alcohol base is less deep, but does not raise the grain. Water base is deep, but requires pretreatment with water followed by abrasion to fix the raised grain. Stain is a sort of paint meant for poor quality wood. Paint - raw pigment can be mixed with a binder ( for example: polymerized linseed or tung oil) for a really traditional material. Commercial - finely ground pigment is important - usually marketed as model paint. More important than brand is that the finish be either flat, or matt - but never gloss or high gloss. School Tradition also holds that CA is to be avoided. PVA for wood to wood and two part epoxy for metal to wood. School Tradition is also a minor segment - usually inhabiting the scratch build wing.

Almost never did the ends of F1 right and F1 left abutt at the middle of the keel. The ASA made a point of forbidding this in their rules. A small center piece of timber = cross chock. A larger timber over the keel = Cross piece A timber that has arms that about half those of the floor timber = half floor. Another way was to have F1-right side have an arm that extended across the keel an abutted F1-left on its side. The next bend would be F1 left with the long arm . This pattern would alternate. I have no clue as to Spanish practice. As far as I have seen, there has been no effort made to share the Maritime and Naval archives of Spain with the wider World with a push from their side. France has ANCRE and AAMM. But the AAMM plans that I have are aimed at a carved hull method of fabrication. The subtext is that POF builders already know more than the authors of the plans about the method and are held a bit in awe. The publication dates of AMM plans go back a ways and wide spread exposition of POF came after.

The French seem to have been somewhat obsessed with mirroring the floor timber orientation at the midline. They also seem to have used all bends (paired frames). In North America, my observation was that an orientation was chosen and it was maintained from AP to FP. After The Revolution there was not often the midship nonsense. If there was, a close together double line of stations seems to be on the plans. The English did not always use all bends. In fact, it is my observation that it was a bit rare. They most often used two bends per station and filling frames inbetween or a bend per station and the rest filling frames. If there was an odd number of filling frames, the alternating of floor timbers with F1 overruled any fore and aft orientation. There was an evolving change from 1719 thru the Napoleonic period - when the number of ships was increasing and the supply of timber was decreasing.

The bulwark framing on the cutter is spare when compared to large vessels. In most cases, there was planking inside as well as out. The tops and half tops are hidden and filler material can be used. The English seem to be alone in going out of their way to position the framing to be the actual sides of the ports. North America and France appear to have more material and just cut away what is in the way of the ports and add more in between. There were rules for the spacing of the ports as well as size and height. I think Davis gives a 1750 English rule - based on shot diameter. One aspect that a lot of kit builders seem to ignore is - well, look at the cutter plan - the sills and lintels are parallel to the deck sheer - the opening only has right angles in the midship port or two. The rest are parallelograms.

Kev, I leave any clamping on for ~12 hrs ( I have been using Titebond II since 1972 and have seen no reason to change. But I chose the water resistant version because we live on a water planet. ) Rather than rush the planking and possibly stress the bond, why not run two parallel projects? And skip to on coming sub assemblies on the Jolly boat? Bill, I use a square of Cut-Rite for the same purpose. I use a miniature sponge on a toothpick as an applicator and after the first leftover dries, I have an amber base for the next puddle. Several weeks and the base gets pert thick. By the way, a gold star for the near free plank bender that is about the perfect tool for doing the bending. It should not get as excessively hot as the soldering iron adaptions that are the more common alternatives.

Bruce, Alan, Your subject of interest best belongs in the Painting Forum. It could seriously divert this build log. Copy/paste #296-299 to that forum and even though it is a subject that has many threads that intersect, it may have legs for a while. I can add a bit of clarification as can several others, but not here. An important aspect of it is that it is more opinion than Science. It is also a love me? love my opinion! sort of subject - a whole lot of emotional investment on the part of some. Mark, I have become a bit of a medical apostate. I am willing to accept the consequences if I am wrong and there is only one investor, so keep this is mind. About the >BP and the meds to affect it. I would balance just how > the Bp gets and what the probable harm could be vs the side effects of the meds. I have been away from the field for over 10 years and have not kept up at all. But way back then, there were several paths with many different bundles of med induced problems, so if the course you are on is causing problems, try a different one. If your doc is a love me, love my choice sort of Ego, rethink your choice of MD. How bad would ignoring it be? How bad would just tapping it with HCTZ be? Or just Atenolol? or the two? I started in the mid 60's in hospital, and the basket of meds that were "vital" to take chronically to reverse long term poorly chosen life style damage is very different from the basket when I bailed.

Because your tape is near wood color, I missed what you are doing. My initial thoughts: 0} If the tape was not uniform thickness everywhere the stock sits, the movement - up/down or wobble/rocking = bad cuts. But I see that the tape extends the length/width (front to back) of the table. 1} It would be a pain to change the tape with each new thickness to meet the fence. Then I see that the saw fence has enough slop for it to ride on top of the tape - which makes the tolerances of the machine less than impressive. 2} If there is any friction or resistance to stock feed, it would irritate me. If the tape has a slick surface, that should not be a problem. 3} For those of us who use a Renaissance wax protective coat, stick may be a problem Otherwise, what you have is an"exsert" instead of an insert that just raises the table top. Having a junky fence makes that not a problem. For a lot of things like this, corollaries to the yacht law ( I you have to ask the price, you cannot afford it.) come to mind. In this case, if you feel the need to ask if it is a good idea, it probably is not a good idea to begin with.)

Your blade is up too high.. I can see that having the edge of the blade closer to vertical has fewer teeth engaged, so there is less problem with filling the gullet, but with the crown at ~1/4" clearance -using a slower feed would work and protect you better. OK - armchair theory about eliminating the danger of kickback: If there is a Pine board on top of the billet and it has a second piece of Pine glued to it at the tail end that will sit behind the billet - push it - is also sitting on the saw table and is long enough - so long that when the billet is beyond the back edge of the blade, the blade is still inside the pusher piece. The work is hidden - so that success can only be determined post cut - but there can be no kickback and fingers are safe. translation: Pine board = any wood that is low cost and has the needed dimensions to keep the blade enclosed. billet = whatever stock is being sliced up.

Bill, All of HIC's published plans are available from The Smithsonian at 1:48 usually. Using the S.I. plans as a starting point is significantly better than messing with a scan from the book. The cost is $10/sheet and $5/12 for shipping, plus the wait time. Given the cost and hassle in replication - it may be economical to order 2-3 copies of it from S.I. Blue Jacket has a solid hull kit of a USRC - guessing that it is the 51 ton vessel = Standard: ITEM # K1106A |Kit: $145 | LOA: 19" Scale: 1/4"=1' The 31 ton would be a bit smaller and the 80 ton a bit larger. Not as much as imagined if thinking in linear - since tons is a cubed function. The LOA includes the spars?

There was a time when a shammy / chamois cloth was suggested.

Here is a link for linen yarn that goes down to 90/3. https://store.vavstuga.com/mm5/merchant.mvc?Screen=CTGY&Category_code=yarns-linen-lace 90/3 means three strands of 90 LEA. ETSY can get into Baltic suppliers of raw linen yarn in cones to feed a ropewalk. Unfortunately the quality control could be better. If it was a lump that made it to the final twist up rope -it would just be an annoyance. With my machine, it produces a feed yarn break, which is another level of frustration.

When I was a pup and in grade school, I had a 1 foot wooden ruler with a metal strip in a slot on one edge. When boxwood ruler blanks and old rulers are being proposed as a material to be repurposed for blocks and deck furniture, I immediately imagined that it was these old elementary school rulers, and not a carpenter's folding ruler. Even in the 1950's, I think Boxwood had been replaced with a less expensive hardwood species on this side of the pond. The school rulers are much thicker. The carpenter's rulers are generally not thick enough to be worth the effort as well as having inherent worth on their own.

going into the area of speculation and supposition it seems as if you know that what you are proposing to do is likely to be a bad choice. Wishing to be told that it could work, you ask here. The likely consensus here is that if you are serious about milling, you are on the wrong path. If you are just on a lark, you should perhaps widen your possibilities a bit. I am thinking that speed is a useless standard if the machine lacks the power to maintain it when the cutter is exposed to a load. If you want light weight, consider trying a EuroTool DRL 300.00. It is a small drill press, so the quill bearings are not designed for much of a lateral load. But with light shallow cuts, it may do. If it does not work, at least you will have a drill press for model scale work, providing that it is not wrecked by forcing it. It can be upgraded by attaching a XY table - AliExpress fronts for several Chinese suppliers of generic XY tables. The cutters will need to be really sharp and likely high quality. This machine is probably not that different from something low cost and light weight that is labeled as being a "milling machine".

I checked Little Machine Shop - the model that is in your zone seems to be a version if a Sieg SX1P or SX1LP Not low cost or light weight, but it looks to be quality for a hobby machine. It is probably a good idea to make sure that the decision points that you use be ones that matter.

On Grecian, note that the sides of the ports do not line up with this "as built" plan. If they wished to copy the design, I do not envy their version of an intern who would have gotten the job of reorienting the stations for the new version. Oh, and HIC did not completely redraw lines plans to his particular style. He duplicated and cleaned up the plans as he found them. He used the style of the original NA.

When I imagine mass production of knees, truck sides, deck beams by milling a billet and then using a table saw to slice off the finals, I obsess about the amount of wood lost to kerf. There was a recent thread (gun trucks?) that reminded me of an efficient way to increase the productivity when using this method. Make the billet up using slices that already the desired thickness that are held together using a reversible glue. Spot bonding using PVA and immersion into 2-propanol. A tissue paper spacer between each segment may speed the reversal. I just made up a batch of small sponge stick glue applicators using bamboo toothpicks and Duco - and Duco would be an alternative, but I think I would like PVA better.

Guilty! as to my sources.

I do not have a wayback machine, so I cannot ask the naval architects and builders directly. I have had hands on practice with a lot of plans - pre 1860. This covers about a 200 year span -1660 - 1860. These are my conclusions from the available evidence. The Stations define the frame shapes and orientation. The Stations were the portion of the plans that were enlarged to full size on the mold loft floor. The timber patterns were the Station shapes and had marks to define the intermediate frame shapes. If there were 20 stations and 80 bends - 160 frames - there would have been 20 sets of patterns made for the actual ship. For a model, we have been making 80-160 patterns. It would probably have been crazy making to have tried to have used an angle jig with a plumb line to erect the frames. The keel is easier to shim than to try to deal with vertically canted frames. Large ships were not usually designed to have much if any drag. The captain and sailing master (?) (the technical non-com) would have adjusted the sailing trim prn anyway - regardless of what was designed. Smaller craft (schooners - sloops - etc) tended to be the ones that could have had significant drag. The scantlings were less, so a sloped keel on the ways would be easier to build. The sides of the ports were defined the frames. With a significant drag and the frames erected perpendicular to the keel, the angle of the sides of the ports would have been .... strange - funky - disorienting. It would have been a laughing stock. As an aside, the ports sills and lintels followed the sheer of the deck. The gun trucks rolled on an angled deck the farther aft or fore was the port. using a rectangular stick as a support for gun port framing is only valid for two or three ports at the midship.

My current favorite for crosscutting is Japanese Curved-edge Mini Saw Item # 3612 from StewMac . As with other Japanese saws, it cuts on the pull stroke. This works better for me than the Western push cut blades. The curve makes it easier for me to place it where I want it. Was not an intuitive aspect for me - a pleasant surprise was that. The unfortunate part is that StewMac is out of stock - too many luthiers love it? I also have the saw that Jim presents. Broke it at the handle - bought another one - will just be more careful with it.

Ree's is the one that I wish that I had bought two copies. There are plans that fold out that need the binding removed for to get a proper scan. It is Hutchinson that I do not find all that valuable.

Looking at the generic magnifier on the Amazon link, and bringing to mind the anti-pirate ethic here, I see that it would be more ethical and provide a much better product to take the financial hit and buy the Optivisor brand name unit. Glass beats acrylic even if it is more expensive to get a variety of lens strengths. It takes trial and error to find the balance between a high enough magnification and a neck muscle spasm. The brand name unit has room the wear glasses with it.

Tea and coffee extracts contain organic acids which have a degrading effect on natural fibers over time. A Walnut wood dye ( not a stain for natural fibers) will come close and not kill the rope. Running rigging was not white, hemp and Manila are not white to begin with and a small degree of tar was applied during twistup.. Standing rigging - pre-petrol (1859) was not black. It was Pine tar that was used. The shade can be controlled by altering the concentration of the dye. Because extraordinary effort is required now to even obtain linen yarn for a rope walk. And the quality control for that could be better (Baltic - Etsy). Because of practical availability problems, a kit supplied rope may not be a natural fiber. Synthetics may present an interesting challenge to color. I have no suggestions for this. Apart from PVA, anything synthetic or man-made is far outside my personal rules.