Jaager
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Jaager got a reaction from DaveBaxt in Forming a rabbet
Flat engravers = HSS gravers - come in a variety of widths. They are a bit thicker than a chisel but the cutting edge is what counts.
Jewelers supply - like Rio Grande or Otto Frei - not exactly an economy item - but probably long term quality.
The Sam Alfano tool handle with the bronze quick change holders are kind of neat.
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Jaager reacted to mtdoramike in Hello from FLORIDA
Yep the old Ebay ship model kit purchase, I think we have all been there and done that, hoping everything is in the box when it arrives only to realize there are parts missing from parts of the model to plans and instructions. After your first or second model, you will toss the instructions, which at best are confusing and at worst down right misleading and build mainly by the plans or drawings. You will also learn that basically all ship models are built the same with only a few differences.
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Jaager got a reaction from allanyed in Forming a rabbet
Flat engravers = HSS gravers - come in a variety of widths. They are a bit thicker than a chisel but the cutting edge is what counts.
Jewelers supply - like Rio Grande or Otto Frei - not exactly an economy item - but probably long term quality.
The Sam Alfano tool handle with the bronze quick change holders are kind of neat.
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Jaager got a reaction from Bob Cleek in Forming a rabbet
Flat engravers = HSS gravers - come in a variety of widths. They are a bit thicker than a chisel but the cutting edge is what counts.
Jewelers supply - like Rio Grande or Otto Frei - not exactly an economy item - but probably long term quality.
The Sam Alfano tool handle with the bronze quick change holders are kind of neat.
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Jaager got a reaction from mtaylor in Forming a rabbet
Flat engravers = HSS gravers - come in a variety of widths. They are a bit thicker than a chisel but the cutting edge is what counts.
Jewelers supply - like Rio Grande or Otto Frei - not exactly an economy item - but probably long term quality.
The Sam Alfano tool handle with the bronze quick change holders are kind of neat.
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Jaager got a reaction from tlevine in Forming a rabbet
I used the plunge router attachment for a Foredom flex shaft - upside down as a table with a fence - to be able to move the wood (keel) - the 22 degree cit was done using a twist drill bit as the cutter.
For a mass production operation - this would be cost effective - for 100's of keels. For one off - not so much.
I suggest a good pattern on the keel, stem, and sternpost. The use a very sharp small chisel to do the cut. Strop often. Magnification for old eyes. A fixed piece of wood and a moving rotary tool is going to want to walk - different densities between spring and summer wood makes this more probable. A fixed cutter and moving work is OK for a straight cut, but the stem is a curve and staying at a perfect tangent is difficult.
A power tool can too easily stray. The angle is fixed.
Doing it by hand is slower, but more forgiving. Pieces of scrap can be shaped to match the angle of the frame at the rabbet - lots of them at the ends. Practice - a lot, first.
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Jaager got a reaction from Maury S in Forming a rabbet
I used the plunge router attachment for a Foredom flex shaft - upside down as a table with a fence - to be able to move the wood (keel) - the 22 degree cit was done using a twist drill bit as the cutter.
For a mass production operation - this would be cost effective - for 100's of keels. For one off - not so much.
I suggest a good pattern on the keel, stem, and sternpost. The use a very sharp small chisel to do the cut. Strop often. Magnification for old eyes. A fixed piece of wood and a moving rotary tool is going to want to walk - different densities between spring and summer wood makes this more probable. A fixed cutter and moving work is OK for a straight cut, but the stem is a curve and staying at a perfect tangent is difficult.
A power tool can too easily stray. The angle is fixed.
Doing it by hand is slower, but more forgiving. Pieces of scrap can be shaped to match the angle of the frame at the rabbet - lots of them at the ends. Practice - a lot, first.
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Jaager got a reaction from mtaylor in Forming a rabbet
I used the plunge router attachment for a Foredom flex shaft - upside down as a table with a fence - to be able to move the wood (keel) - the 22 degree cit was done using a twist drill bit as the cutter.
For a mass production operation - this would be cost effective - for 100's of keels. For one off - not so much.
I suggest a good pattern on the keel, stem, and sternpost. The use a very sharp small chisel to do the cut. Strop often. Magnification for old eyes. A fixed piece of wood and a moving rotary tool is going to want to walk - different densities between spring and summer wood makes this more probable. A fixed cutter and moving work is OK for a straight cut, but the stem is a curve and staying at a perfect tangent is difficult.
A power tool can too easily stray. The angle is fixed.
Doing it by hand is slower, but more forgiving. Pieces of scrap can be shaped to match the angle of the frame at the rabbet - lots of them at the ends. Practice - a lot, first.
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Jaager got a reaction from thibaultron in Forming a rabbet
I used the plunge router attachment for a Foredom flex shaft - upside down as a table with a fence - to be able to move the wood (keel) - the 22 degree cit was done using a twist drill bit as the cutter.
For a mass production operation - this would be cost effective - for 100's of keels. For one off - not so much.
I suggest a good pattern on the keel, stem, and sternpost. The use a very sharp small chisel to do the cut. Strop often. Magnification for old eyes. A fixed piece of wood and a moving rotary tool is going to want to walk - different densities between spring and summer wood makes this more probable. A fixed cutter and moving work is OK for a straight cut, but the stem is a curve and staying at a perfect tangent is difficult.
A power tool can too easily stray. The angle is fixed.
Doing it by hand is slower, but more forgiving. Pieces of scrap can be shaped to match the angle of the frame at the rabbet - lots of them at the ends. Practice - a lot, first.
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Jaager got a reaction from mtaylor in thread for a pond yacht
It was excellent at simulating scale rope that matched its diameter in scale. I believe this is in the NRJ: the owner died and his son-in-law got the company and loaded the inventory into a dumpster. I remember because that was so astounding stupid. It is not at the degree of the housekeeper who used Donal McKay's half models as kindling, but it is in that memory bank. I think an NRG member rescued a bit of it but not near as much as he should have. The white line looks like Cuttyhunk to me.
The bow looks like a cutter. The stern and flush deck looks pond yacht.
I suspect that all of the rigging line was "make do" at the time, rather than the builder looking for scale. I would match the colors, but do the best I could using current "make do" material.
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Jaager got a reaction from Keith Black in thread for a pond yacht
It was excellent at simulating scale rope that matched its diameter in scale. I believe this is in the NRJ: the owner died and his son-in-law got the company and loaded the inventory into a dumpster. I remember because that was so astounding stupid. It is not at the degree of the housekeeper who used Donal McKay's half models as kindling, but it is in that memory bank. I think an NRG member rescued a bit of it but not near as much as he should have. The white line looks like Cuttyhunk to me.
The bow looks like a cutter. The stern and flush deck looks pond yacht.
I suspect that all of the rigging line was "make do" at the time, rather than the builder looking for scale. I would match the colors, but do the best I could using current "make do" material.
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Jaager got a reaction from Canute in Oil paint varnish help
I followed up on your introduction of Liquin. The Liquin fine detail has one characteristic that is counter to what a model ship wants. It is a gloss product. The original Liquin is low gloss - which is not great - but better. The increased viscosity in the light version is produced by the clear carrier solution. When it evaporates, most of what produces the increased viscosity is gone? By using tubed artists oils, the concentration of pigment is under your control. An increased pigment concentration would have an increased viscosity that remains after polymerization. But now that I think on it: impasto is not a good approximation of an adzed planking surface.
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Jaager got a reaction from modeller_masa in Oil paint varnish help
I followed up on your introduction of Liquin. The Liquin fine detail has one characteristic that is counter to what a model ship wants. It is a gloss product. The original Liquin is low gloss - which is not great - but better. The increased viscosity in the light version is produced by the clear carrier solution. When it evaporates, most of what produces the increased viscosity is gone? By using tubed artists oils, the concentration of pigment is under your control. An increased pigment concentration would have an increased viscosity that remains after polymerization. But now that I think on it: impasto is not a good approximation of an adzed planking surface.
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Jaager got a reaction from Canute in Oil paint varnish help
You got hit by the outer edge of that canister shot. I was aiming at the general sort of inquiry we get -
We in absolute agreement on this.
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Jaager got a reaction from East Ender in Oil paint varnish help
You got hit by the outer edge of that canister shot. I was aiming at the general sort of inquiry we get -
We in absolute agreement on this.
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Jaager got a reaction from Canute in Oil paint varnish help
Should be easy to do. Just find a tube of artists oils with the shade of pigment that you need. It may need mixing of two or more. I just checked Blick's page - Most of their Gamblin 30ml tubes are $9.00.
One of those tubes may last you a lifetime. Turpentine or mineral spirits for a thinner have a lower cost per volume.
I use a lot of brushing lacquer. Certainly not on a model, but to put a thick clear protective layer on my frame patterns - water proof, no smear, thick to stand up to rigorous sanding - it is more Mylar like than just paper, it does not do one thing that I wanted - add a degree of brittleness that a fan of fuzz is not at the abraded edge - still needs frequent Gem blade scraping to see the line.
ANYWAY - lacquer: too thick, too much shine/gloss for anything but a toy. The solvent - even the "Green" substitute is a mixture of potential really toxic organic solvents - they make acetone seem like breathing nitrogen for the irritation. I never would, but if I had to spray lacquer, it would be in a glove box -outside. The solvent mixture reads like something to use in Death Row - never mind turning whatever lacquer itself into something with a particle size small enough to get into my alveoli. Even if it is not carcinogenic - layer of it there would impede gas exchange.
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Jaager got a reaction from Canute in Oil paint varnish help
I used "over coat" trying to describe a last layer. I think we agree that shellac works well as the last layer?
To be too pedantic about it - a stain is actually a semi transparent paint - so it could go over shellac? It is pigment particles suspended in a solvent with a binder?
A dye is a whole nuther thing. A dye is single pigment molecules dissolved in a solvent. No binder, the intent is for the molecules to soak into the wood and change the color. The grain is unaffected. The surface is still bare wood. Using shellac before a dye would be a bad thing to do. It would already be where the dye molecules would go if the shellac was not already blocking them?
The careless use of word "stain" to mean changing the color can cause problems for a tyro - which we all were at some point - (and for most things - still are -) but everyone should not have to be a scout -cutting their own new trail and learning the hard way?
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Jaager got a reaction from mtaylor in Oil paint varnish help
You got hit by the outer edge of that canister shot. I was aiming at the general sort of inquiry we get -
We in absolute agreement on this.
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Jaager reacted to Bob Cleek in Oil paint varnish help
Yes, we do agree that shellac works well as the last layer of the coating system.
I mentioned stain because I thought he was working on real wood and not card. My mistake. Stain could go over shellac, but it wouldn't look the same as stain on bare wood. This is because the grain structure of the bare wood absorbs the stain at differing rates and enhances the figuring of the wood. Shellac can do this to a certain extent (especally a darker shellac,) but if the shellac is put down first, it soaks into the wood and any stain will only uniformly darken the workpiece. I agree using shellac before a dye would be a bad thing for the reasons you stated.
My use of the work "stain" wasn't careless, it was just wrong, since I thought it was wood to which he was applying the finish instead of cardstock.
The ship modeling world would be a better place if we could just convince our colleagues to only use shellac and artists' oils and avoid all the "better living through chemistry" that seems so fashionable these days. Not likely we'll live long enough to see that happen though.
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Jaager got a reaction from modeller_masa in Oil paint varnish help
I used "over coat" trying to describe a last layer. I think we agree that shellac works well as the last layer?
To be too pedantic about it - a stain is actually a semi transparent paint - so it could go over shellac? It is pigment particles suspended in a solvent with a binder?
A dye is a whole nuther thing. A dye is single pigment molecules dissolved in a solvent. No binder, the intent is for the molecules to soak into the wood and change the color. The grain is unaffected. The surface is still bare wood. Using shellac before a dye would be a bad thing to do. It would already be where the dye molecules would go if the shellac was not already blocking them?
The careless use of word "stain" to mean changing the color can cause problems for a tyro - which we all were at some point - (and for most things - still are -) but everyone should not have to be a scout -cutting their own new trail and learning the hard way?
-
Jaager got a reaction from modeller_masa in Oil paint varnish help
Should be easy to do. Just find a tube of artists oils with the shade of pigment that you need. It may need mixing of two or more. I just checked Blick's page - Most of their Gamblin 30ml tubes are $9.00.
One of those tubes may last you a lifetime. Turpentine or mineral spirits for a thinner have a lower cost per volume.
I use a lot of brushing lacquer. Certainly not on a model, but to put a thick clear protective layer on my frame patterns - water proof, no smear, thick to stand up to rigorous sanding - it is more Mylar like than just paper, it does not do one thing that I wanted - add a degree of brittleness that a fan of fuzz is not at the abraded edge - still needs frequent Gem blade scraping to see the line.
ANYWAY - lacquer: too thick, too much shine/gloss for anything but a toy. The solvent - even the "Green" substitute is a mixture of potential really toxic organic solvents - they make acetone seem like breathing nitrogen for the irritation. I never would, but if I had to spray lacquer, it would be in a glove box -outside. The solvent mixture reads like something to use in Death Row - never mind turning whatever lacquer itself into something with a particle size small enough to get into my alveoli. Even if it is not carcinogenic - layer of it there would impede gas exchange.
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Jaager got a reaction from Canute in Oil paint varnish help
I thought that they rules were:
water based acrylics are not compatible with organic solvent based oils.
You may have to get back to bare wood. Trying to make sense of "Coating paper" - is this a paper model?
Anyway - remove the acrylic paint.
Prime with shellac -
then use oils (enamels)
Old school lacquer is in a noxious and aggressive organic solvent. Very volatile - such that another coat can be applied after 2 hrs. My initial hypothesis is that the solvent in the lacquer allowed the acrylic layer to interact with the enamel layer.
Why not over coat with shellac instead of an organic solvent based polymerizing oil like linseed (with a catalyst) = (oil varnish). You do not need a hard shell for this application.
There may be some situations where good money would be spent to get that sort of crinkled finish. It looks a couple hundred years old.
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Jaager got a reaction from mtaylor in Wood Glues
It works to fix toothpick handles into small blocks of packing foam to make a glue spreader. It resists the water in PVA and tap water to clean the spreader.
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Jaager got a reaction from mtaylor in Wood Glues
With what I do, the major force is perpendicular to the plane of the bond: sort of like feeding the edge of a piece of plywood against sanding drum or disk - or exactly that. But there is enough collateral tangential force that Duco is a failure.
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Jaager got a reaction from mtaylor in Cordless Micro Drills
HF used to all but give away a small hand drill with a single volt transformer. Totally useless as sold - too weak.
When plugged into a variable power supply and the voltage cranked up - it works.
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