Jaager

No way would I pay that much for a machine like that.  I would question its ability to move enough air to do the job.
 
For in the house - at the bench - I use a Kenmore Blue Magic small canister vac.  It uses a collection bag - which is a pain, but otherwise does the job.
 
The handle at the end of the hose has the ON-OFF - which is a slide power control.
I attached the handle to the end of a desk lamp  arm (less the bulb part) using cable ties.
There are desk lamps and THERE ARE DESK LAMPS -  I prefer serious articulation, a desk clamp with some mass,  and arms that will stay in position -no weak wingnuts.
The handle has some weight to it.
 
It took some serious jury rigging to get a hose to fit the opening in the handle and also fit the dust collection port on my Byrnes disc sander. 
I use the tablesaw and thickness sander in my garage.  They are not about finesse.  The disc sander is.
 
An additional advantage is that it can be used to clear stair treads of dust.

No way would I pay that much for a machine like that.  I would question its ability to move enough air to do the job.
 
For in the house - at the bench - I use a Kenmore Blue Magic small canister vac.  It uses a collection bag - which is a pain, but otherwise does the job.
 
The handle at the end of the hose has the ON-OFF - which is a slide power control.
I attached the handle to the end of a desk lamp  arm (less the bulb part) using cable ties.
There are desk lamps and THERE ARE DESK LAMPS -  I prefer serious articulation, a desk clamp with some mass,  and arms that will stay in position -no weak wingnuts.
The handle has some weight to it.
 
It took some serious jury rigging to get a hose to fit the opening in the handle and also fit the dust collection port on my Byrnes disc sander. 
I use the tablesaw and thickness sander in my garage.  They are not about finesse.  The disc sander is.
 
An additional advantage is that it can be used to clear stair treads of dust.

I agree.  Going back to the baseline and defining any problem is key to getting things done correctly.
 
There is no standard process.  What, if any, color adjustment depends on the starting material.
 
There are lots of How To articles covering block making.  An easy method for mass production and minimal individual block manipulation is a goal for many.
 
One possible beginning:
If you have plastic blocks from a kit -  then perhaps using a series of coats of a dilute enamel paint that is the desired wood shade?  
String the blocks on wire and dip them over and over?  Light touch as far as pigment density per coat?   On small  blocks - I see brush application being frustrating.  Using an aerosol application on a sphere - a lot of manipulation of the target - awkward manipulation.     

The first generation acrylic paints had icky surface texture - like chalk- the paintings that I saw - I did not care for the look. But the molecules are hydrophilic. They play nice with water.  Alcohol and acrylic molecules may not play nice together - or - a shade that is a mixture of pigments may have some molecules having a different affinity and the color come out different.
 
 
The lack of precision in the use of terminology leads to confusion and misunderstanding.
A dye has a solvent.  It is a true solution. individual molecules evenly dispersed in the solvent.  No settling, no change in content over time.  Where the solvent goes, the dye molecules also go.
A stain has a vehicle.  The pigment particles - a clump of pigment molecules - are temporarily suspended in the liquid carrier.  They settle out if left alone.  They stay on the surface of wood.
 
The dyes that I am familiar with are hydrophilic - they dissolve in water or alcohol - I think alcohol is preferable for scale work.  Surface fibers of wood do not swell with alcohol, they do with wood.
Some old style stains are organic solvent based.  Think of them as semi transparent paints that are wood colored.  Some stains must also contain dyes if they are featured as being "penetrating".
I suspect that an acrylic stain - if such exist - will use water as a carrier - an awful prospect to imagine as far as ending with a smooth surface.
I wonder if the fanatics who ban VOC products use water in their engines? 
 
Dyes are for high quality wood.  As with a fabric dye, the internal substance of the wood becomes the new color.  The grain is unaffected.  Other than the color, the surface is unaffected.  PVA still bonds it.
Stains are for wood with unremarkable grain.  The pigment sits on the surface.   I think a stain will either need a clear overcoat (a varnish - in the original meaning of that word - before there was commercial anything doing that)  or will also contain a polymerizing clear component (varnish stain) or a plastic (polyurethane).  

The Wood-Database does not have much specific for your part of the world.  I would try to find a local hardwood sawmill and see if they have a local wood that is fine texture, no pores large enough to see, straight grain.  Something that looks like Oak or Elm that has been scaled down 50 times.  If you use actual Oak, the grain, pores, and texture will be 50-100 times too large.
There is no tree species with grain that small.  It could not transport water thru tubes that small.  There are however species that are a whole lot closer to scale than is any nutwood.
 
Basswood and Linden have excellent grain characteristics, but their surface is soooo fuzzy.

The 3rd edition that I have has two foldout sheets - not all that large.  They are not what I would call plans, never mind "working plans".
The missing plans are no loss.  The book itself was bush league in its time.
 
The S.I. sells 1/4" scale copies of the plans in Chapelle's books.  There is a fair selection of 1850's clipper ships.
 
The site with downloads of the plans from Wm Webb's Folio has lines and mast/sail plans for Black Hawk - Challenge -  Comet - Flying Dutchman - Gazelle - Swordfish - Young America
https://modelshipworld.com/topic/36455-ship-plan-sources-william-h-webb-plans-and-a-japanese-topsail-schooner/
 
The clippers were about as large as a wooden sailing vessel could be.  This puts them in an unfortunate situation.  A model with a scale large enough to include detail is also one that will take over the room that it is in.   A model whose size is one that you can live with will require miniaturist skills.  See the work of @rwiederrich in the scratch section for a view of what is involved.

No way would I pay that much for a machine like that.  I would question its ability to move enough air to do the job.
 
For in the house - at the bench - I use a Kenmore Blue Magic small canister vac.  It uses a collection bag - which is a pain, but otherwise does the job.
 
The handle at the end of the hose has the ON-OFF - which is a slide power control.
I attached the handle to the end of a desk lamp  arm (less the bulb part) using cable ties.
There are desk lamps and THERE ARE DESK LAMPS -  I prefer serious articulation, a desk clamp with some mass,  and arms that will stay in position -no weak wingnuts.
The handle has some weight to it.
 
It took some serious jury rigging to get a hose to fit the opening in the handle and also fit the dust collection port on my Byrnes disc sander. 
I use the tablesaw and thickness sander in my garage.  They are not about finesse.  The disc sander is.
 
An additional advantage is that it can be used to clear stair treads of dust.

The 3rd edition that I have has two foldout sheets - not all that large.  They are not what I would call plans, never mind "working plans".
The missing plans are no loss.  The book itself was bush league in its time.
 
The S.I. sells 1/4" scale copies of the plans in Chapelle's books.  There is a fair selection of 1850's clipper ships.
 
The site with downloads of the plans from Wm Webb's Folio has lines and mast/sail plans for Black Hawk - Challenge -  Comet - Flying Dutchman - Gazelle - Swordfish - Young America
https://modelshipworld.com/topic/36455-ship-plan-sources-william-h-webb-plans-and-a-japanese-topsail-schooner/
 
The clippers were about as large as a wooden sailing vessel could be.  This puts them in an unfortunate situation.  A model with a scale large enough to include detail is also one that will take over the room that it is in.   A model whose size is one that you can live with will require miniaturist skills.  See the work of @rwiederrich in the scratch section for a view of what is involved.

The 3rd edition that I have has two foldout sheets - not all that large.  They are not what I would call plans, never mind "working plans".
The missing plans are no loss.  The book itself was bush league in its time.
 
The S.I. sells 1/4" scale copies of the plans in Chapelle's books.  There is a fair selection of 1850's clipper ships.
 
The site with downloads of the plans from Wm Webb's Folio has lines and mast/sail plans for Black Hawk - Challenge -  Comet - Flying Dutchman - Gazelle - Swordfish - Young America
https://modelshipworld.com/topic/36455-ship-plan-sources-william-h-webb-plans-and-a-japanese-topsail-schooner/
 
The clippers were about as large as a wooden sailing vessel could be.  This puts them in an unfortunate situation.  A model with a scale large enough to include detail is also one that will take over the room that it is in.   A model whose size is one that you can live with will require miniaturist skills.  See the work of @rwiederrich in the scratch section for a view of what is involved.

The 3rd edition that I have has two foldout sheets - not all that large.  They are not what I would call plans, never mind "working plans".
The missing plans are no loss.  The book itself was bush league in its time.
 
The S.I. sells 1/4" scale copies of the plans in Chapelle's books.  There is a fair selection of 1850's clipper ships.
 
The site with downloads of the plans from Wm Webb's Folio has lines and mast/sail plans for Black Hawk - Challenge -  Comet - Flying Dutchman - Gazelle - Swordfish - Young America
https://modelshipworld.com/topic/36455-ship-plan-sources-william-h-webb-plans-and-a-japanese-topsail-schooner/
 
The clippers were about as large as a wooden sailing vessel could be.  This puts them in an unfortunate situation.  A model with a scale large enough to include detail is also one that will take over the room that it is in.   A model whose size is one that you can live with will require miniaturist skills.  See the work of @rwiederrich in the scratch section for a view of what is involved.

I have found that the HF 4" ratcheting bar clamp - the one with the large wingnut - is the only one that I have tried that really works.
The HF model with a small wingnut, the MM variety, the Widget Supply model, the expensive Irwin 4'' - none of these will apply any appreciable pressure.
Plus, the trigger tends to break.

If the object being held can stand the pressure,  Kelly clamps become No Mar holders if a piece of used IV tubing is slipped over the teeth.
What with the close tolerance there is pressure even with thin wall Tygon.

Pine is good.  I use a lot of it.
There is another wood that is worth a look.  Goodreau Sawmill & Woodworking has Yellow Poplar that costs about the same as their White Pine.
If your focus was a couple hundred years earlier - they also have Hard Maple, Black Cherry, Beech.
They also have the usual nutwood species whose grain and open pores do not scale.
 
I would place a bet that you will come to regret  having a large solid wood carved hull.  The rules that Dana Wegner developed for USN museum acquisitions - rules that specify a hollow hull, are probably the result of lessons paid for from disasters reflected by solid hulls.
 

Pine is good.  I use a lot of it.
There is another wood that is worth a look.  Goodreau Sawmill & Woodworking has Yellow Poplar that costs about the same as their White Pine.
If your focus was a couple hundred years earlier - they also have Hard Maple, Black Cherry, Beech.
They also have the usual nutwood species whose grain and open pores do not scale.
 
I would place a bet that you will come to regret  having a large solid wood carved hull.  The rules that Dana Wegner developed for USN museum acquisitions - rules that specify a hollow hull, are probably the result of lessons paid for from disasters reflected by solid hulls.
 

Cost:  Ordinary lumberyard pine is an overlooked but perfectly suitable wood for “carved hull models.  Sort through the 1” stock and pick out what you need.  You don’t need top grade quality as you will not be using the whole board as one piece.  You can discard areas with knots.  
 
Weight:  For my current project, the lake freighter Benjamin Noble, the long middle body is an open topped box with a U cross section.  Deck is brass plated craft plywood, but you could plate with paper. Bow and stern sections are solid “plugs”that fit into the ends of the box.  All carved to shape.  Material: 1in lumberyard pine.
 
Roger

Phil,  @GrandpaPhil
 
AAMM is the source for another (two actually) Polar ship  -but South Pole  -  L'Astrolabe   (and her sister La Zelee).
 
The S.I.  has plans for the four USN Polar explorers at the South Polar region at the same time -  Vincennes, Porpose II,  Peacocok II  
- the Flying Fish -ex. Independance pilot schooner that is the S.I. plan is also available for free-  the John McKeon from the Wm H. Webb folio.  -  to actually match Flying Fish the breadth needs to be increased 20' 7" to 22' 6',  the depth 7' 6" to 8' 8" ,  the length 70'  to 85' 6"    Increasing the Body plan by 110% is all that the breadth and depth require.   Increasing the length by a fixed percent is not without some unwanted distortion.  Just increasing the breadth alone and making the 54 spaces 8" instead of 6" lengthens the hull without distorting the stem and stern.
 
Beagle also took a shot at the region I believe.  For this, I think starting with ZAZ5137 and following  Marquardt's demonstration of the alterations.....

Phil,  @GrandpaPhil
 
AAMM is the source for another (two actually) Polar ship  -but South Pole  -  L'Astrolabe   (and her sister La Zelee).
 
The S.I.  has plans for the four USN Polar explorers at the South Polar region at the same time -  Vincennes, Porpose II,  Peacocok II  
- the Flying Fish -ex. Independance pilot schooner that is the S.I. plan is also available for free-  the John McKeon from the Wm H. Webb folio.  -  to actually match Flying Fish the breadth needs to be increased 20' 7" to 22' 6',  the depth 7' 6" to 8' 8" ,  the length 70'  to 85' 6"    Increasing the Body plan by 110% is all that the breadth and depth require.   Increasing the length by a fixed percent is not without some unwanted distortion.  Just increasing the breadth alone and making the 54 spaces 8" instead of 6" lengthens the hull without distorting the stem and stern.
 
Beagle also took a shot at the region I believe.  For this, I think starting with ZAZ5137 and following  Marquardt's demonstration of the alterations.....

The first generation acrylic paints had icky surface texture - like chalk- the paintings that I saw - I did not care for the look. But the molecules are hydrophilic. They play nice with water.  Alcohol and acrylic molecules may not play nice together - or - a shade that is a mixture of pigments may have some molecules having a different affinity and the color come out different.
 
 
The lack of precision in the use of terminology leads to confusion and misunderstanding.
A dye has a solvent.  It is a true solution. individual molecules evenly dispersed in the solvent.  No settling, no change in content over time.  Where the solvent goes, the dye molecules also go.
A stain has a vehicle.  The pigment particles - a clump of pigment molecules - are temporarily suspended in the liquid carrier.  They settle out if left alone.  They stay on the surface of wood.
 
The dyes that I am familiar with are hydrophilic - they dissolve in water or alcohol - I think alcohol is preferable for scale work.  Surface fibers of wood do not swell with alcohol, they do with wood.
Some old style stains are organic solvent based.  Think of them as semi transparent paints that are wood colored.  Some stains must also contain dyes if they are featured as being "penetrating".
I suspect that an acrylic stain - if such exist - will use water as a carrier - an awful prospect to imagine as far as ending with a smooth surface.
I wonder if the fanatics who ban VOC products use water in their engines? 
 
Dyes are for high quality wood.  As with a fabric dye, the internal substance of the wood becomes the new color.  The grain is unaffected.  Other than the color, the surface is unaffected.  PVA still bonds it.
Stains are for wood with unremarkable grain.  The pigment sits on the surface.   I think a stain will either need a clear overcoat (a varnish - in the original meaning of that word - before there was commercial anything doing that)  or will also contain a polymerizing clear component (varnish stain) or a plastic (polyurethane).  

It is to scream in frustration!  The use of jargon with this causes confusion about which agents to use.
A stain - the noun - applies to a semi transparent paint. It does not penetrate wood. It sits on the surface.  It is largish pigment particles in a binder.
A dye - is near single molecule pigment.  It actually enters into the wood and becomes part of it. As commonly found, the pigment is either dissolved in water or alcohol.
The water based version penetrates more deeply but also can swell surface wood fibers (raise the grain).
The alcohol based version penetrates not as deep, but does not affect the wood surface.
 
Small boxwood blocks  - depth of penetration is not something that can be seen, so alcohol is probably the more efficient version.
If you buy a small quantity of red and black dye.  An endless variety of shades of brown is possible by adjusting the relative ration of the two solutions.
Even more variety is possible if a brown pigment is in the mix.  In any case, a little black goes a long way.
Test on scrap.  This is both more tricky than is first imagined and messy - gloves - skin will dye too and it takes a few days for dyed cells to be shed.
Once you have the desired shade, the intensity can be less by adding more alcohol.
To finish, use a coat of clear shellac on the dyed blocks.
 
Or you could leap to the final stage by doing what the original Navy Board modelers did.  Use garnet color shellac on the raw boxwood.  First coat, 1/2 strength, second coat full strength.

The first generation acrylic paints had icky surface texture - like chalk- the paintings that I saw - I did not care for the look. But the molecules are hydrophilic. They play nice with water.  Alcohol and acrylic molecules may not play nice together - or - a shade that is a mixture of pigments may have some molecules having a different affinity and the color come out different.
 
 
The lack of precision in the use of terminology leads to confusion and misunderstanding.
A dye has a solvent.  It is a true solution. individual molecules evenly dispersed in the solvent.  No settling, no change in content over time.  Where the solvent goes, the dye molecules also go.
A stain has a vehicle.  The pigment particles - a clump of pigment molecules - are temporarily suspended in the liquid carrier.  They settle out if left alone.  They stay on the surface of wood.
 
The dyes that I am familiar with are hydrophilic - they dissolve in water or alcohol - I think alcohol is preferable for scale work.  Surface fibers of wood do not swell with alcohol, they do with wood.
Some old style stains are organic solvent based.  Think of them as semi transparent paints that are wood colored.  Some stains must also contain dyes if they are featured as being "penetrating".
I suspect that an acrylic stain - if such exist - will use water as a carrier - an awful prospect to imagine as far as ending with a smooth surface.
I wonder if the fanatics who ban VOC products use water in their engines? 
 
Dyes are for high quality wood.  As with a fabric dye, the internal substance of the wood becomes the new color.  The grain is unaffected.  Other than the color, the surface is unaffected.  PVA still bonds it.
Stains are for wood with unremarkable grain.  The pigment sits on the surface.   I think a stain will either need a clear overcoat (a varnish - in the original meaning of that word - before there was commercial anything doing that)  or will also contain a polymerizing clear component (varnish stain) or a plastic (polyurethane).  

The first generation acrylic paints had icky surface texture - like chalk- the paintings that I saw - I did not care for the look. But the molecules are hydrophilic. They play nice with water.  Alcohol and acrylic molecules may not play nice together - or - a shade that is a mixture of pigments may have some molecules having a different affinity and the color come out different.
 
 
The lack of precision in the use of terminology leads to confusion and misunderstanding.
A dye has a solvent.  It is a true solution. individual molecules evenly dispersed in the solvent.  No settling, no change in content over time.  Where the solvent goes, the dye molecules also go.
A stain has a vehicle.  The pigment particles - a clump of pigment molecules - are temporarily suspended in the liquid carrier.  They settle out if left alone.  They stay on the surface of wood.
 
The dyes that I am familiar with are hydrophilic - they dissolve in water or alcohol - I think alcohol is preferable for scale work.  Surface fibers of wood do not swell with alcohol, they do with wood.
Some old style stains are organic solvent based.  Think of them as semi transparent paints that are wood colored.  Some stains must also contain dyes if they are featured as being "penetrating".
I suspect that an acrylic stain - if such exist - will use water as a carrier - an awful prospect to imagine as far as ending with a smooth surface.
I wonder if the fanatics who ban VOC products use water in their engines? 
 
Dyes are for high quality wood.  As with a fabric dye, the internal substance of the wood becomes the new color.  The grain is unaffected.  Other than the color, the surface is unaffected.  PVA still bonds it.
Stains are for wood with unremarkable grain.  The pigment sits on the surface.   I think a stain will either need a clear overcoat (a varnish - in the original meaning of that word - before there was commercial anything doing that)  or will also contain a polymerizing clear component (varnish stain) or a plastic (polyurethane).  

The first generation acrylic paints had icky surface texture - like chalk- the paintings that I saw - I did not care for the look. But the molecules are hydrophilic. They play nice with water.  Alcohol and acrylic molecules may not play nice together - or - a shade that is a mixture of pigments may have some molecules having a different affinity and the color come out different.
 
 
The lack of precision in the use of terminology leads to confusion and misunderstanding.
A dye has a solvent.  It is a true solution. individual molecules evenly dispersed in the solvent.  No settling, no change in content over time.  Where the solvent goes, the dye molecules also go.
A stain has a vehicle.  The pigment particles - a clump of pigment molecules - are temporarily suspended in the liquid carrier.  They settle out if left alone.  They stay on the surface of wood.
 
The dyes that I am familiar with are hydrophilic - they dissolve in water or alcohol - I think alcohol is preferable for scale work.  Surface fibers of wood do not swell with alcohol, they do with wood.
Some old style stains are organic solvent based.  Think of them as semi transparent paints that are wood colored.  Some stains must also contain dyes if they are featured as being "penetrating".
I suspect that an acrylic stain - if such exist - will use water as a carrier - an awful prospect to imagine as far as ending with a smooth surface.
I wonder if the fanatics who ban VOC products use water in their engines? 
 
Dyes are for high quality wood.  As with a fabric dye, the internal substance of the wood becomes the new color.  The grain is unaffected.  Other than the color, the surface is unaffected.  PVA still bonds it.
Stains are for wood with unremarkable grain.  The pigment sits on the surface.   I think a stain will either need a clear overcoat (a varnish - in the original meaning of that word - before there was commercial anything doing that)  or will also contain a polymerizing clear component (varnish stain) or a plastic (polyurethane).  

Phil,  @GrandpaPhil
 
AAMM is the source for another (two actually) Polar ship  -but South Pole  -  L'Astrolabe   (and her sister La Zelee).
 
The S.I.  has plans for the four USN Polar explorers at the South Polar region at the same time -  Vincennes, Porpose II,  Peacocok II  
- the Flying Fish -ex. Independance pilot schooner that is the S.I. plan is also available for free-  the John McKeon from the Wm H. Webb folio.  -  to actually match Flying Fish the breadth needs to be increased 20' 7" to 22' 6',  the depth 7' 6" to 8' 8" ,  the length 70'  to 85' 6"    Increasing the Body plan by 110% is all that the breadth and depth require.   Increasing the length by a fixed percent is not without some unwanted distortion.  Just increasing the breadth alone and making the 54 spaces 8" instead of 6" lengthens the hull without distorting the stem and stern.
 
Beagle also took a shot at the region I believe.  For this, I think starting with ZAZ5137 and following  Marquardt's demonstration of the alterations.....

Phil,  @GrandpaPhil
 
AAMM is the source for another (two actually) Polar ship  -but South Pole  -  L'Astrolabe   (and her sister La Zelee).
 
The S.I.  has plans for the four USN Polar explorers at the South Polar region at the same time -  Vincennes, Porpose II,  Peacocok II  
- the Flying Fish -ex. Independance pilot schooner that is the S.I. plan is also available for free-  the John McKeon from the Wm H. Webb folio.  -  to actually match Flying Fish the breadth needs to be increased 20' 7" to 22' 6',  the depth 7' 6" to 8' 8" ,  the length 70'  to 85' 6"    Increasing the Body plan by 110% is all that the breadth and depth require.   Increasing the length by a fixed percent is not without some unwanted distortion.  Just increasing the breadth alone and making the 54 spaces 8" instead of 6" lengthens the hull without distorting the stem and stern.
 
Beagle also took a shot at the region I believe.  For this, I think starting with ZAZ5137 and following  Marquardt's demonstration of the alterations.....

Phil,  @GrandpaPhil
 
AAMM is the source for another (two actually) Polar ship  -but South Pole  -  L'Astrolabe   (and her sister La Zelee).
 
The S.I.  has plans for the four USN Polar explorers at the South Polar region at the same time -  Vincennes, Porpose II,  Peacocok II  
- the Flying Fish -ex. Independance pilot schooner that is the S.I. plan is also available for free-  the John McKeon from the Wm H. Webb folio.  -  to actually match Flying Fish the breadth needs to be increased 20' 7" to 22' 6',  the depth 7' 6" to 8' 8" ,  the length 70'  to 85' 6"    Increasing the Body plan by 110% is all that the breadth and depth require.   Increasing the length by a fixed percent is not without some unwanted distortion.  Just increasing the breadth alone and making the 54 spaces 8" instead of 6" lengthens the hull without distorting the stem and stern.
 
Beagle also took a shot at the region I believe.  For this, I think starting with ZAZ5137 and following  Marquardt's demonstration of the alterations.....