Jaager

Did you use a 50% solution as a first coat?  The most common method that I am familiar with is the seal the wood with 1:1 Tung oil: Mineral Spirit and when this is dry, wipe on light layers of straight Tung oil and let them dry between coats.  Ambient temp would affect the time interval.
The primer coat can also be 50% shellac -  the actual concentration would depend on your shellac source.  Orange shellac is (I think) 20 lb cut, but comes already in solution  - that means 20 lb to a gallon of alcohol - my rough  round up conversion is 20% solution.
I use Super Blonde flakes.  The refining removes impurities which affects the solubility - the max concentration I can get of this is 10% and therefore the primer coat is a 5% solution.  There are very low cost electronic balances now - so it is easy to weigh 5 g and add this to 100 ml 2-propanol (100%) - too much water in the rubbing alcohol concentrations (50/70/91 %) .  
 
You could start try removing some of the Tung oil with straight Mineral Spirits or turpentine and start over, but waiting a few weeks for the O2 to penetrate your too thick layer  and work its polymerizing magic is easier.  
 
I am thinking that pure Tung oil is not an ideal finish for a working surface.  A carving, a ship model, a wall surface - are great, but a surface subject to wear is likely not going to react like you would like. 
 
Here is a quote from Garrett Wade about Sutherland Welles pre-polymerized Tung oil products -  unfortunately this source is US only
 
"Tung oil is recognized as the finest oil finish available. However, most so-called Tung oil finishes on the market have been adulterated with varnishes, lower cost soy oils, and/or urethane additives. This makes the finish somewhat cheaper and easier to use, but sacrifices the special qualities of Tung oil. Pure Tung oil provides a tough, hard surface that is absolutely waterproof, and impervious to dust, alcohol, acetone, and fruit and vegetable acids. It does not darken with age as linseed oil does.

Sutherland Welles uses polymerization from a cooking process to give its Tung Oil a faster drying time and a harder, higher gloss surface. Increasing the percentage of polymerized oil in the formulation of the finish restricts penetration but increases luster, durability and hardness."
 
The highest polymerized product - 50% -  is suggested for table surfaces -  The cost is significantly greater than pure Tung oil so reading between the lines -  it would not be sold unless its characteristics were not needed.

Did you use a 50% solution as a first coat?  The most common method that I am familiar with is the seal the wood with 1:1 Tung oil: Mineral Spirit and when this is dry, wipe on light layers of straight Tung oil and let them dry between coats.  Ambient temp would affect the time interval.
The primer coat can also be 50% shellac -  the actual concentration would depend on your shellac source.  Orange shellac is (I think) 20 lb cut, but comes already in solution  - that means 20 lb to a gallon of alcohol - my rough  round up conversion is 20% solution.
I use Super Blonde flakes.  The refining removes impurities which affects the solubility - the max concentration I can get of this is 10% and therefore the primer coat is a 5% solution.  There are very low cost electronic balances now - so it is easy to weigh 5 g and add this to 100 ml 2-propanol (100%) - too much water in the rubbing alcohol concentrations (50/70/91 %) .  
 
You could start try removing some of the Tung oil with straight Mineral Spirits or turpentine and start over, but waiting a few weeks for the O2 to penetrate your too thick layer  and work its polymerizing magic is easier.  
 
I am thinking that pure Tung oil is not an ideal finish for a working surface.  A carving, a ship model, a wall surface - are great, but a surface subject to wear is likely not going to react like you would like. 
 
Here is a quote from Garrett Wade about Sutherland Welles pre-polymerized Tung oil products -  unfortunately this source is US only
 
"Tung oil is recognized as the finest oil finish available. However, most so-called Tung oil finishes on the market have been adulterated with varnishes, lower cost soy oils, and/or urethane additives. This makes the finish somewhat cheaper and easier to use, but sacrifices the special qualities of Tung oil. Pure Tung oil provides a tough, hard surface that is absolutely waterproof, and impervious to dust, alcohol, acetone, and fruit and vegetable acids. It does not darken with age as linseed oil does.

Sutherland Welles uses polymerization from a cooking process to give its Tung Oil a faster drying time and a harder, higher gloss surface. Increasing the percentage of polymerized oil in the formulation of the finish restricts penetration but increases luster, durability and hardness."
 
The highest polymerized product - 50% -  is suggested for table surfaces -  The cost is significantly greater than pure Tung oil so reading between the lines -  it would not be sold unless its characteristics were not needed.

More water resistant - especially Titebond II - I think the bond is stronger - For me, it dries hard and sands well.
I think it can be diluted if you need a thinner medium, but the limit is probably 1 part water to 9 parts PVA.
 
The open time is reasonable.  The bond is actually stronger than the wood it holds - if the surfaces to be jointed are close fitting. That is a skill be focus on.
 
A rule that I use is - the more force used in clamping - the stronger the bond.   The demonstrator in the Gerstner tool chest instructional video gave advise that I think is wrong about tight clamping squeezing out too much glue making the joint weaker.  If there is a mono layer of glue completely covering both surfaces to be joined - there is enough glue - You will crush the wood surface on the clamp side and ruin the surface before you could squeeze out too much glue.  If you are gap filling  - there will be no force to expel that glue either.
 
I totally concur about an Optivisor  vs  a swing arm lamp with a magnifying lens.  I have two - one oval fluorescent  and one incandescent - that I replaced with a spiral fluorescent.   I do do use the magnifying function for either.   I suggest a couple of swing arm lamps that are just lights - use the brightest LED bulbs you can fit-   The base can either clamp to the edge of the bench top - screw into it - or there are lamps that will mount on a vertical surface - like the wall behind the bench - which is probably more efficient for position and use of bench space - if the bench is is fixed location.
Low cost swing arm lamps tend to be frustrating because the pivot point locations tend not to hold their positions.  The lens tends to just add weight to the end of the lever arm and add to this problem.
 

Good quality single edge razor blades.
Consider Yellow PVA glue rather than white.
A hand fret saw and a variety pack of blades if your kit requires you to free components from a printed sheet.
A piece of leather and a bar of rouge or gold stropping compound -  you can maintain a sharp edge for a long time before using a stone if you strop frequently and do not mar the edge by cutting something harder than it is.

More water resistant - especially Titebond II - I think the bond is stronger - For me, it dries hard and sands well.
I think it can be diluted if you need a thinner medium, but the limit is probably 1 part water to 9 parts PVA.
 
The open time is reasonable.  The bond is actually stronger than the wood it holds - if the surfaces to be jointed are close fitting. That is a skill be focus on.
 
A rule that I use is - the more force used in clamping - the stronger the bond.   The demonstrator in the Gerstner tool chest instructional video gave advise that I think is wrong about tight clamping squeezing out too much glue making the joint weaker.  If there is a mono layer of glue completely covering both surfaces to be joined - there is enough glue - You will crush the wood surface on the clamp side and ruin the surface before you could squeeze out too much glue.  If you are gap filling  - there will be no force to expel that glue either.
 
I totally concur about an Optivisor  vs  a swing arm lamp with a magnifying lens.  I have two - one oval fluorescent  and one incandescent - that I replaced with a spiral fluorescent.   I do do use the magnifying function for either.   I suggest a couple of swing arm lamps that are just lights - use the brightest LED bulbs you can fit-   The base can either clamp to the edge of the bench top - screw into it - or there are lamps that will mount on a vertical surface - like the wall behind the bench - which is probably more efficient for position and use of bench space - if the bench is is fixed location.
Low cost swing arm lamps tend to be frustrating because the pivot point locations tend not to hold their positions.  The lens tends to just add weight to the end of the lever arm and add to this problem.
 

Good quality single edge razor blades.
Consider Yellow PVA glue rather than white.
A hand fret saw and a variety pack of blades if your kit requires you to free components from a printed sheet.
A piece of leather and a bar of rouge or gold stropping compound -  you can maintain a sharp edge for a long time before using a stone if you strop frequently and do not mar the edge by cutting something harder than it is.

More water resistant - especially Titebond II - I think the bond is stronger - For me, it dries hard and sands well.
I think it can be diluted if you need a thinner medium, but the limit is probably 1 part water to 9 parts PVA.
 
The open time is reasonable.  The bond is actually stronger than the wood it holds - if the surfaces to be jointed are close fitting. That is a skill be focus on.
 
A rule that I use is - the more force used in clamping - the stronger the bond.   The demonstrator in the Gerstner tool chest instructional video gave advise that I think is wrong about tight clamping squeezing out too much glue making the joint weaker.  If there is a mono layer of glue completely covering both surfaces to be joined - there is enough glue - You will crush the wood surface on the clamp side and ruin the surface before you could squeeze out too much glue.  If you are gap filling  - there will be no force to expel that glue either.
 
I totally concur about an Optivisor  vs  a swing arm lamp with a magnifying lens.  I have two - one oval fluorescent  and one incandescent - that I replaced with a spiral fluorescent.   I do do use the magnifying function for either.   I suggest a couple of swing arm lamps that are just lights - use the brightest LED bulbs you can fit-   The base can either clamp to the edge of the bench top - screw into it - or there are lamps that will mount on a vertical surface - like the wall behind the bench - which is probably more efficient for position and use of bench space - if the bench is is fixed location.
Low cost swing arm lamps tend to be frustrating because the pivot point locations tend not to hold their positions.  The lens tends to just add weight to the end of the lever arm and add to this problem.
 

Good quality single edge razor blades.
Consider Yellow PVA glue rather than white.
A hand fret saw and a variety pack of blades if your kit requires you to free components from a printed sheet.
A piece of leather and a bar of rouge or gold stropping compound -  you can maintain a sharp edge for a long time before using a stone if you strop frequently and do not mar the edge by cutting something harder than it is.

Good quality single edge razor blades.
Consider Yellow PVA glue rather than white.
A hand fret saw and a variety pack of blades if your kit requires you to free components from a printed sheet.
A piece of leather and a bar of rouge or gold stropping compound -  you can maintain a sharp edge for a long time before using a stone if you strop frequently and do not mar the edge by cutting something harder than it is.

More water resistant - especially Titebond II - I think the bond is stronger - For me, it dries hard and sands well.
I think it can be diluted if you need a thinner medium, but the limit is probably 1 part water to 9 parts PVA.
 
The open time is reasonable.  The bond is actually stronger than the wood it holds - if the surfaces to be jointed are close fitting. That is a skill be focus on.
 
A rule that I use is - the more force used in clamping - the stronger the bond.   The demonstrator in the Gerstner tool chest instructional video gave advise that I think is wrong about tight clamping squeezing out too much glue making the joint weaker.  If there is a mono layer of glue completely covering both surfaces to be joined - there is enough glue - You will crush the wood surface on the clamp side and ruin the surface before you could squeeze out too much glue.  If you are gap filling  - there will be no force to expel that glue either.
 
I totally concur about an Optivisor  vs  a swing arm lamp with a magnifying lens.  I have two - one oval fluorescent  and one incandescent - that I replaced with a spiral fluorescent.   I do do use the magnifying function for either.   I suggest a couple of swing arm lamps that are just lights - use the brightest LED bulbs you can fit-   The base can either clamp to the edge of the bench top - screw into it - or there are lamps that will mount on a vertical surface - like the wall behind the bench - which is probably more efficient for position and use of bench space - if the bench is is fixed location.
Low cost swing arm lamps tend to be frustrating because the pivot point locations tend not to hold their positions.  The lens tends to just add weight to the end of the lever arm and add to this problem.
 

More water resistant - especially Titebond II - I think the bond is stronger - For me, it dries hard and sands well.
I think it can be diluted if you need a thinner medium, but the limit is probably 1 part water to 9 parts PVA.
 
The open time is reasonable.  The bond is actually stronger than the wood it holds - if the surfaces to be jointed are close fitting. That is a skill be focus on.
 
A rule that I use is - the more force used in clamping - the stronger the bond.   The demonstrator in the Gerstner tool chest instructional video gave advise that I think is wrong about tight clamping squeezing out too much glue making the joint weaker.  If there is a mono layer of glue completely covering both surfaces to be joined - there is enough glue - You will crush the wood surface on the clamp side and ruin the surface before you could squeeze out too much glue.  If you are gap filling  - there will be no force to expel that glue either.
 
I totally concur about an Optivisor  vs  a swing arm lamp with a magnifying lens.  I have two - one oval fluorescent  and one incandescent - that I replaced with a spiral fluorescent.   I do do use the magnifying function for either.   I suggest a couple of swing arm lamps that are just lights - use the brightest LED bulbs you can fit-   The base can either clamp to the edge of the bench top - screw into it - or there are lamps that will mount on a vertical surface - like the wall behind the bench - which is probably more efficient for position and use of bench space - if the bench is is fixed location.
Low cost swing arm lamps tend to be frustrating because the pivot point locations tend not to hold their positions.  The lens tends to just add weight to the end of the lever arm and add to this problem.
 

Good quality single edge razor blades.
Consider Yellow PVA glue rather than white.
A hand fret saw and a variety pack of blades if your kit requires you to free components from a printed sheet.
A piece of leather and a bar of rouge or gold stropping compound -  you can maintain a sharp edge for a long time before using a stone if you strop frequently and do not mar the edge by cutting something harder than it is.

You might give Bare Metal Foil a look:  http://www.bare-metal.com/bare-metal-foil.html

You might give Bare Metal Foil a look:  http://www.bare-metal.com/bare-metal-foil.html

My measurements of the Threadneedle Street product:
 
Size           dia.           1/48 dia           1/48 cir.
100/3        0.0088       0.42                 1.3
80/3          0.01           0.48                 1.5
50/3          0.012         0.6                   1.86
30/3          0.019         0.09                 2.8
 
I did not get any 18/3  but from my ropewalk:
20/3          0.025         1.14                 3.6
 
the largest that I have:
8/2 /3       0.059          2.8                   8.9
 
The stock was 8/2 lea  three lines turned up.

Since no one else seems to want this:
Flax is the plant - the fiber that is made from the crushed/combed stalk is generally know as linen.
You may have better luck searching for linen yarn or linen thread.  Linen fibers are something like a magnitude more course than cotton, so what is generally known as thread with cotton is a yarn with linen.
That said, if your desired line sizes are correct, you would do better looking for spider silk.  The finest that I have is:
100/3 lea and the diameter is 0.0088 inches  @ 1:48  0.42 inches dia or 1.3 inches circumference.   This is 0.22 mm dia.
 
That came from :  http://www.threadneedlestreet.com/ .....  thread - linen    http://www.threadneedlestreet.com/
 
If you have the size you want wrong, then a straight forward solution is :  http://www.syrenshipmodelcompany.com/miniature-rope.php
 
Rigging line can be confusing.   At model scales, we tend to use diameter to determine size.  It is usually measured by counting the number of cycles per inch on a dowel.
I think the old rigging books for the full size ships used rope circumference.  It would be much easier for them to measure - a piece of string and a ruler.
Diameter is would be difficult to directly measure -  the rope deforms when you "mic" it directly.
 
 
 
 
Linen is a challenge because there are several standards - lea is the one I use.
100/3  means that  three yarns of 100 size are twisted up into a thread. It can be used directly for rigging. It is not too different from #100 Mercerized cotton thread in size.
 
8/3 linen  is three 8 lea yarns and is close to twine in size.   With lea  - the larger the value, the finer the yarn.
 
Linen yarn is a raw material for a rope walk to turn into miniature rope
 
You could do a search here = ropewalk    to get some idea
 
sources :  http://www.theobrejaart.nl/   for linen yarn         http://www.theobrejaart.nl/frame.html
 
http://www.villagespinweave.com/IBS/SimpleCat/Product/asp/hierarchy/0705/product-id/744625.html   linen yarn  http://www.villagespinweave.com/IBS/SimpleCat/Product/asp/hierarchy/0705/product-id/744625.html

Since no one else seems to want this:
Flax is the plant - the fiber that is made from the crushed/combed stalk is generally know as linen.
You may have better luck searching for linen yarn or linen thread.  Linen fibers are something like a magnitude more course than cotton, so what is generally known as thread with cotton is a yarn with linen.
That said, if your desired line sizes are correct, you would do better looking for spider silk.  The finest that I have is:
100/3 lea and the diameter is 0.0088 inches  @ 1:48  0.42 inches dia or 1.3 inches circumference.   This is 0.22 mm dia.
 
That came from :  http://www.threadneedlestreet.com/ .....  thread - linen    http://www.threadneedlestreet.com/
 
If you have the size you want wrong, then a straight forward solution is :  http://www.syrenshipmodelcompany.com/miniature-rope.php
 
Rigging line can be confusing.   At model scales, we tend to use diameter to determine size.  It is usually measured by counting the number of cycles per inch on a dowel.
I think the old rigging books for the full size ships used rope circumference.  It would be much easier for them to measure - a piece of string and a ruler.
Diameter is would be difficult to directly measure -  the rope deforms when you "mic" it directly.
 
 
 
 
Linen is a challenge because there are several standards - lea is the one I use.
100/3  means that  three yarns of 100 size are twisted up into a thread. It can be used directly for rigging. It is not too different from #100 Mercerized cotton thread in size.
 
8/3 linen  is three 8 lea yarns and is close to twine in size.   With lea  - the larger the value, the finer the yarn.
 
Linen yarn is a raw material for a rope walk to turn into miniature rope
 
You could do a search here = ropewalk    to get some idea
 
sources :  http://www.theobrejaart.nl/   for linen yarn         http://www.theobrejaart.nl/frame.html
 
http://www.villagespinweave.com/IBS/SimpleCat/Product/asp/hierarchy/0705/product-id/744625.html   linen yarn  http://www.villagespinweave.com/IBS/SimpleCat/Product/asp/hierarchy/0705/product-id/744625.html

I varied between 200 and 300 W.   The temp did not get above 120 F  and was mostly 90-100 F.  I mounted the box inside a shelf in my unheated garage.  The temp in the box was something like 20-30 degrees higher than the temp in the garage. The foam sheets were not a tight fit, the air leakage was needed, and the foam only 1 inch thick.  This is nothing like as aggressive as a commercial kiln,  but it does produce an effective movement of water out of the wood that was a lot faster than air drying.  I think it is not so much the temp as the relative humidity that counts.  I was drying Holly so it was a race with the blue mold. I also wanted a temp that was higher than the mold liked.  It worked.   The exhaust fan - being a computer fan is DC - needed an AC power adapter - it seems that an adapter that is equal to or greater than the fan rating is OK. One with a lower output will burn out the fan.

You might give Bare Metal Foil a look:  http://www.bare-metal.com/bare-metal-foil.html

I think this is one of those personal - possessive opinion subjects - sort of "love me, love my....." subjects.
 
For wood to wood - PVA is an excellent choice. Known as carpenter's wood glue.  It comes in in several options:  white and yellow are the high inventory varieties.  I think yellow produces the stronger bond.  I want resistance to humidity so I use Titebond II.  If I was making a pond boat, I would use Titebond III.
Unlike what I did, you should probably avoid the high volume - lower unit cost option and get the 4 oz (120ml) size.  It does have excellent shelf life, but fresh is probably the wiser choice.
 
For metal to wood - two part epoxy - mixing time option - "you pays your money and you takes your chances".
 
For rigging, natural fiber,  neutral pH bookbinders PVA.
 
I am biased against "super glue".  I suspect that the chemical reaction that makes it fast also makes it continue going and produce  a brittle bond after a decade or two.  It is also difficult to keep from reacting in the container over time.

For a long time, I did not give scale a lot of thought,  I just accepted 1:48 as the ultimate standard ( 1/4" : 1" ).  This was after I embraced scratch building.
However, this is essentially museum scale.  It allows for a great deal of detail, but the models tend to be a bit large for private scales- especially for vessels larger than 100' LBP.
 
Those of us in the US, who still use English scale instead of metric - the scales tend to fall on set increments below 1/4".
1:64 is 3/16" : 1'.  1:76 is 5/32" : 1'.  1:96 is  1/8" : 1'.    Prior to the microelectronic revolution, these steps made sense.
With the advent of digital, these limits are longer necessary.   With a calculator and a digital caliper one scale is as easy as the next.
 
We seem to tend to think linear and arithmetic .   The components of 1/8" scale model are one half the length width and thickness of 1/4" scale.
BUT, Mother Nature is 3D (4D actually) and the math is Calculus.   The volume of a model at 1:96 is 0.125 times ( 1/8 ) the volume of 1:48.
 
Your 1:64 model is 0.42 of 1/4  and the 1:100 is something like 0.1 of 1/4.   So, the Niagara model is 4 times larger than the 1:100.
 
I have adopted 1:60 as my scale of choice.  The models are 1/2 museum scale even though they are 80% the length.  The problem is that while Porpoise II (1836) 88'  and even Vincennes (1825) 127' are reasonable in size, Stag Hound at 212' will be a monster even at 1:60.
 
1:96 and 1:100 are on the cusp of miniature scale and that is getting to a whole nuther World of skill and way of thinking. 

I think this is one of those personal - possessive opinion subjects - sort of "love me, love my....." subjects.
 
For wood to wood - PVA is an excellent choice. Known as carpenter's wood glue.  It comes in in several options:  white and yellow are the high inventory varieties.  I think yellow produces the stronger bond.  I want resistance to humidity so I use Titebond II.  If I was making a pond boat, I would use Titebond III.
Unlike what I did, you should probably avoid the high volume - lower unit cost option and get the 4 oz (120ml) size.  It does have excellent shelf life, but fresh is probably the wiser choice.
 
For metal to wood - two part epoxy - mixing time option - "you pays your money and you takes your chances".
 
For rigging, natural fiber,  neutral pH bookbinders PVA.
 
I am biased against "super glue".  I suspect that the chemical reaction that makes it fast also makes it continue going and produce  a brittle bond after a decade or two.  It is also difficult to keep from reacting in the container over time.

I think this is one of those personal - possessive opinion subjects - sort of "love me, love my....." subjects.
 
For wood to wood - PVA is an excellent choice. Known as carpenter's wood glue.  It comes in in several options:  white and yellow are the high inventory varieties.  I think yellow produces the stronger bond.  I want resistance to humidity so I use Titebond II.  If I was making a pond boat, I would use Titebond III.
Unlike what I did, you should probably avoid the high volume - lower unit cost option and get the 4 oz (120ml) size.  It does have excellent shelf life, but fresh is probably the wiser choice.
 
For metal to wood - two part epoxy - mixing time option - "you pays your money and you takes your chances".
 
For rigging, natural fiber,  neutral pH bookbinders PVA.
 
I am biased against "super glue".  I suspect that the chemical reaction that makes it fast also makes it continue going and produce  a brittle bond after a decade or two.  It is also difficult to keep from reacting in the container over time.

For a long time, I did not give scale a lot of thought,  I just accepted 1:48 as the ultimate standard ( 1/4" : 1" ).  This was after I embraced scratch building.
However, this is essentially museum scale.  It allows for a great deal of detail, but the models tend to be a bit large for private scales- especially for vessels larger than 100' LBP.
 
Those of us in the US, who still use English scale instead of metric - the scales tend to fall on set increments below 1/4".
1:64 is 3/16" : 1'.  1:76 is 5/32" : 1'.  1:96 is  1/8" : 1'.    Prior to the microelectronic revolution, these steps made sense.
With the advent of digital, these limits are longer necessary.   With a calculator and a digital caliper one scale is as easy as the next.
 
We seem to tend to think linear and arithmetic .   The components of 1/8" scale model are one half the length width and thickness of 1/4" scale.
BUT, Mother Nature is 3D (4D actually) and the math is Calculus.   The volume of a model at 1:96 is 0.125 times ( 1/8 ) the volume of 1:48.
 
Your 1:64 model is 0.42 of 1/4  and the 1:100 is something like 0.1 of 1/4.   So, the Niagara model is 4 times larger than the 1:100.
 
I have adopted 1:60 as my scale of choice.  The models are 1/2 museum scale even though they are 80% the length.  The problem is that while Porpoise II (1836) 88'  and even Vincennes (1825) 127' are reasonable in size, Stag Hound at 212' will be a monster even at 1:60.
 
1:96 and 1:100 are on the cusp of miniature scale and that is getting to a whole nuther World of skill and way of thinking. 

Wood flour of the planking species mixed with PVA ( Titebond II for me).