Jaager

Bob suggested this for a Byrnes tool add on.  My drill press would be a lot more tedious to use without the momentary power foot switch. HF, I think.
An X Y table can run the cost up there.  Micro-Mark wants $120 for one.  AliExpress has one for $40.

Bob suggested this for a Byrnes tool add on.  My drill press would be a lot more tedious to use without the momentary power foot switch. HF, I think.
An X Y table can run the cost up there.  Micro-Mark wants $120 for one.  AliExpress has one for $40.

The polymerization reaction of the oil is exothermic - the oil exposed to oxygen generates heat.  On a flat open surface, the relatively low heat dissipates quickly.  A ball of rags in a closed space, can retain enough of the generated heat at a central point to cause the combination of air, oil, solvent, and cellulose to generate a chain reaction without a spark.  The trick is making sure that the heat dissipates in a room temp environment.

If you are needing the vertical drilling action and any milling is light cuts in model scale wood:
Eurotools DRL 300   - an Asian machine sold under many brand names.  It should not cost more than $80 US if you shop.
I bought mine from Otto Frei .   I added an X/Y table - it cost about what the drill did - I doubt that it has ball bearings for the spindle, so much lateral force is not a good idea,  blocks and careful cutting of notches in beams for carlings should be OK.

You did as well as can be had for your species choices.  I doubt it will be a practical difference which ever is your choice.
 
I intend to use Holly dyed black where you will use Ebony. 
I think the old holeystoned white descriptions of decking was poetic license to describe the difference from a deck stained by bare feet covered in tar.
Sanding does not change the native color of decking wood.  Sun bleaching tends to be grey or silver, not white.
I have Holly that is yellow and grey (Blue Mold) and may stand for Pine, or Oak decking, but I think - suspect - that white Holly is more of a modeler's convention than a representation of what was real.

I obsess about the same thing.  Best I can come up with is choose a species with low contrast grain to begin with.
It is easier for me to just slice my framing stock from 8x4 -the edge grain becoming the face of the frame.  The sided face is a continuous curve anyway and you takes your chances on how that looks.  For the ends where I need 4 inch stock, I have to flip 90 degrees and I get a plain sawn face - can't help that.
For planking,  either is equally easy to get, so I look at the surfaces and pick the one I like better.  Hard Maple is tricky  - the same plank can go from plain to flame as it is cut farther in.
 
What I find to be more distracting is a species of wood with open grain - my imagination sees those pores as being large enough to break a crewman's ankle if it were enlarged from model scale to full size.

The polymerization reaction of the oil is exothermic - the oil exposed to oxygen generates heat.  On a flat open surface, the relatively low heat dissipates quickly.  A ball of rags in a closed space, can retain enough of the generated heat at a central point to cause the combination of air, oil, solvent, and cellulose to generate a chain reaction without a spark.  The trick is making sure that the heat dissipates in a room temp environment.

That copper is what? newly applied?  The new penny color probably will not survive immersion for long.
Something less stark would probably be more accurate.   With a model, you would almost need to be close enough to touch your nose, to match the photo. Note that even this close, the "nails" do not show and the seams are subtle.

That copper is what? newly applied?  The new penny color probably will not survive immersion for long.
Something less stark would probably be more accurate.   With a model, you would almost need to be close enough to touch your nose, to match the photo. Note that even this close, the "nails" do not show and the seams are subtle.

If you are needing the vertical drilling action and any milling is light cuts in model scale wood:
Eurotools DRL 300   - an Asian machine sold under many brand names.  It should not cost more than $80 US if you shop.
I bought mine from Otto Frei .   I added an X/Y table - it cost about what the drill did - I doubt that it has ball bearings for the spindle, so much lateral force is not a good idea,  blocks and careful cutting of notches in beams for carlings should be OK.

That copper is what? newly applied?  The new penny color probably will not survive immersion for long.
Something less stark would probably be more accurate.   With a model, you would almost need to be close enough to touch your nose, to match the photo. Note that even this close, the "nails" do not show and the seams are subtle.

I bought the Sea Gull plans for Red Jacket and started the lofting.  The plans are 1/8" : 1'.  I loft at 1/4", but man! this is a huge ship.  The hull at the main deck is close to 250 feet long.  I do 1:60  and while anyone mad enough to build her at 1/4" would start with a 5.2 foot long hull less spars,  at 1:60 , it is
a daunting 4.2 foot beast. 
Wm Crothers' plans are still available - they are pretty detailed, but since they are drawn to support both solid hull and POF, I would not be surprised if Blue Jacket did not use Crothers as a basis for their plans.  Red Jacket has specific entries in his The American-Built Clipper Ship.
 
You will have quite a project there even at 1/8" scale, which is close to being in the miniature realm .
Wood Craft has some pretty thin veneer of Maple, Cherry and other species that scale to 1:96 OK,  so might consider planking the hull and choosing an anti-fouling paint color wood for the submerged part of the hull.  This would add additional time for the build.

Use veneer, cut to plank width to scab the low areas.

Marquardt specifies a layer of Fur for HMS Beagle.  I had seen it before in the plans of another vessel , maybe a whaler.
So at least some ships had that.  It sure would provide a practical way to copper a clinker hull.  But I would find it remarkable if a modeler would go to the additional work of doing clinker planking and then masking it with a smooth copper hull surface.
 
 
As an aside,  I just finished  In the Hurricane's Eye: The Genius of George Washington and the Victory at Yorktown  by Nathaniel Philbrick
The author makes a point about the English ships being faster because they were now coppered, and the French trying to catch up to the new tech.  It gives me an historical point for when a coppered hull became prevalent.

I add some additional speculation:
Terredo in larval infectious stage is microscopic and could migrate to a hull by swimming in where the copper plates overlap.
Once in a piece of wood, the worm does not leave that piece.  Hulls were protected by a layer of Fur or similar species - caulked-
between the hull planking and the copper to attract the worm larvae into something that does not affect hull integrity.   The Fur may have also been laid on a gooey layer of toxic stuff to further repel the worm. It would have been a bitch to Z bend copper plates as well as labor expensive.  If it were me, I would cut the Fur layer in a way that would provide a smooth surface to hold the copper for a clinker hull - if I was compelled to do it.

Marquardt specifies a layer of Fur for HMS Beagle.  I had seen it before in the plans of another vessel , maybe a whaler.
So at least some ships had that.  It sure would provide a practical way to copper a clinker hull.  But I would find it remarkable if a modeler would go to the additional work of doing clinker planking and then masking it with a smooth copper hull surface.
 
 
As an aside,  I just finished  In the Hurricane's Eye: The Genius of George Washington and the Victory at Yorktown  by Nathaniel Philbrick
The author makes a point about the English ships being faster because they were now coppered, and the French trying to catch up to the new tech.  It gives me an historical point for when a coppered hull became prevalent.

I add some additional speculation:
Terredo in larval infectious stage is microscopic and could migrate to a hull by swimming in where the copper plates overlap.
Once in a piece of wood, the worm does not leave that piece.  Hulls were protected by a layer of Fur or similar species - caulked-
between the hull planking and the copper to attract the worm larvae into something that does not affect hull integrity.   The Fur may have also been laid on a gooey layer of toxic stuff to further repel the worm. It would have been a bitch to Z bend copper plates as well as labor expensive.  If it were me, I would cut the Fur layer in a way that would provide a smooth surface to hold the copper for a clinker hull - if I was compelled to do it.

The contract for the Warren and Falmouth  1826  specifies that deck planking should average 40 feet and not exceed 10 inches width.
The ASA 1870  implies that hull planking wider than 15 inches is a special case.  The 8-12 inch wide range is probably a good place to live.
Given the 3D changes involved in sheathing a hull,  I keep that planking in the 20-25 foot length range.  Maybe fudge a bit longer if finishing a strake requires too short a piece.
 
Thickness data is easy to find,  width depends on the part,  length was limited by what the trees provided and the lumber jacks and sawyers could practically handle.  It is almost like the authors of the old texts were thinking: "you know what you can get, I don't need to tell you."
The 40 foot deck planking was likely from a species of southern Pine that was hardwood hard, straight, and tall, from primeval forest, all cut down and not really replaced, even if 200 years is long enough for them to be what they were then.

Your way works. 
Those who do finishing for a living, do it differently?
Sealer was/is less expensive?
If you wish to remove the paint, a sealer layer above the wood makes it easier and less damaging to the wood?
Paint is difficult to sand, it tends to be a sticky film rather than fine particles, it gums up sand paper?

A safe sealer is shellac.  The first coat or two should be half strength. 
The more purified the shellac flakes, the lower the saturated solution in alcohol.
What I mean is =  I think orange shellac is 20% at full strength and 10% at half.  I prefer super blonde and with it, 10% is full strength and 5% is half.
There is a grade more purified than super blonde, but super blonde is close enough to water clear for me.
The solvent is alcohol.  Methanol (wood alcohol) is the traditional type,  not sure how easy it is to get.  Ethanol is what is usually available, the main factor with it - the best that can be had is 5% water - ethanol forms a special attraction with water - it requires expensive and energy requiring steps to remove the last 5% and even when done, if the 100% ethanol is exposed to the atmosphere, it pulls in water vapor and quickly becomes 5% water again.  That 5% does not seem to make it not suitable for shellac.   I had my pharmacy order a gallon tin of 100% isopropyl alcohol, it drys more slowly, so is more forgiving on finish coats, but even then, it was costly, and by working there I got it at cost.  The stuff out front in bottles has too much water.  I like the 91% iso for removing wood dust from sanded surfaces.
The traditional dissolving of shellac flakes in alcohol is "pound cut" - pounds of flakes in a gallon of alcohol. This is not even close to being practical for us. As rough as this is, a little rounding makes it easier.  Call a lb = 500 g  and a gal = 4000 ml  and the math is easy.  
There are low cost small battery scales - that measure grams - and a graduated cylinder in ml need not cost much.  Once mixed, shellac has a limited shelf life,  but by using % - any volume can be easily made up.
For what you want, premixed orange shellac and a tin of shellac thinner will do.   I like shellac as a finish and super blonde does not darken the wood very much.  As an undercoat, it is compatible with most everything.  I even use half strength as a first coat before applying a 50-50 base coat of Tung oil when I want an oil finish.

Use veneer, cut to plank width to scab the low areas.

1:12 is a fairly large scale, but even so Oak, Ash, Hickory will not scale all that well. And Red Oak is full of open channels,
so it would leak. 
Hard Maple would be an excellent choice for a light color,  very similar is Birch and Beech.
Black Cherry gives a red color and is also a good choice.  Not sure what you have up there, but here it is a light red.
Years past, in KY, I got some that was dark enough to stand for true Mahogany  - the early 20thC Chris Craft type.
Even if you could get it, that Mahogany would not scale well and what stands in for it now is even less suitable.
Yellow Poplar would work. 
Dimension cut wood that you want is pretty much limited to Balsa, which is a very poor choice, and Basswood (a slightly softer brother to Lime in Europe).
Now, Bass has the sort of grain that you want and is a light color. It is also a soft wood, easy to dent and difficult to keep sharp edges.  Easy to work.
Midwest Products is a major producer and a quick search has it at WalMart Canada, who also has Birch plywood in small thicknesses.  It is not marine ply,
so water will unglue the layers.  At 1:12 Bass may do,  but inexpensive it is not.  But anymore, not much about wood is inexpensive.
 
I you want something other than Basswood
Start with a Web search in your area for
1)  hardwood lumber mills
2) a local woodworkers guild, or trade school teaching woodworking - because you will want to have use of a band saw and thickness sander.

Your way works. 
Those who do finishing for a living, do it differently?
Sealer was/is less expensive?
If you wish to remove the paint, a sealer layer above the wood makes it easier and less damaging to the wood?
Paint is difficult to sand, it tends to be a sticky film rather than fine particles, it gums up sand paper?

A safe sealer is shellac.  The first coat or two should be half strength. 
The more purified the shellac flakes, the lower the saturated solution in alcohol.
What I mean is =  I think orange shellac is 20% at full strength and 10% at half.  I prefer super blonde and with it, 10% is full strength and 5% is half.
There is a grade more purified than super blonde, but super blonde is close enough to water clear for me.
The solvent is alcohol.  Methanol (wood alcohol) is the traditional type,  not sure how easy it is to get.  Ethanol is what is usually available, the main factor with it - the best that can be had is 5% water - ethanol forms a special attraction with water - it requires expensive and energy requiring steps to remove the last 5% and even when done, if the 100% ethanol is exposed to the atmosphere, it pulls in water vapor and quickly becomes 5% water again.  That 5% does not seem to make it not suitable for shellac.   I had my pharmacy order a gallon tin of 100% isopropyl alcohol, it drys more slowly, so is more forgiving on finish coats, but even then, it was costly, and by working there I got it at cost.  The stuff out front in bottles has too much water.  I like the 91% iso for removing wood dust from sanded surfaces.
The traditional dissolving of shellac flakes in alcohol is "pound cut" - pounds of flakes in a gallon of alcohol. This is not even close to being practical for us. As rough as this is, a little rounding makes it easier.  Call a lb = 500 g  and a gal = 4000 ml  and the math is easy.  
There are low cost small battery scales - that measure grams - and a graduated cylinder in ml need not cost much.  Once mixed, shellac has a limited shelf life,  but by using % - any volume can be easily made up.
For what you want, premixed orange shellac and a tin of shellac thinner will do.   I like shellac as a finish and super blonde does not darken the wood very much.  As an undercoat, it is compatible with most everything.  I even use half strength as a first coat before applying a 50-50 base coat of Tung oil when I want an oil finish.

Your way works. 
Those who do finishing for a living, do it differently?
Sealer was/is less expensive?
If you wish to remove the paint, a sealer layer above the wood makes it easier and less damaging to the wood?
Paint is difficult to sand, it tends to be a sticky film rather than fine particles, it gums up sand paper?