Jaager

This is probably about as unique to each person as it gets.
Thinking about it - two of the broad groups  probably are:
Those whose goal is to build an impressive model for display and then move on.  They probably have an unrealistic preconception that wooden models are similar to plastic - just with different materials.
 
Those who are interested in ship modeling in general.  No one particular vessel is their raison d'etre.  Some of the first group become converts to this second one.
 
Starting small is a wise approach for both groups. 
 
Most of the first group probably do not accomplish their original objective because this realm of ours is far more complicated and involved than imagined.
Any kind of rule of progression thru difficulty level would probably not mesh with their degree of patience.
 
For the second group, the journey is purpose.
 
Moving up to a difficulty that exceeds skills  - probably attenuates most of the first group.  For the second, it just means shelving the difficult project and selecting a less difficult one.
 

This is probably about as unique to each person as it gets.
Thinking about it - two of the broad groups  probably are:
Those whose goal is to build an impressive model for display and then move on.  They probably have an unrealistic preconception that wooden models are similar to plastic - just with different materials.
 
Those who are interested in ship modeling in general.  No one particular vessel is their raison d'etre.  Some of the first group become converts to this second one.
 
Starting small is a wise approach for both groups. 
 
Most of the first group probably do not accomplish their original objective because this realm of ours is far more complicated and involved than imagined.
Any kind of rule of progression thru difficulty level would probably not mesh with their degree of patience.
 
For the second group, the journey is purpose.
 
Moving up to a difficulty that exceeds skills  - probably attenuates most of the first group.  For the second, it just means shelving the difficult project and selecting a less difficult one.
 

This is probably about as unique to each person as it gets.
Thinking about it - two of the broad groups  probably are:
Those whose goal is to build an impressive model for display and then move on.  They probably have an unrealistic preconception that wooden models are similar to plastic - just with different materials.
 
Those who are interested in ship modeling in general.  No one particular vessel is their raison d'etre.  Some of the first group become converts to this second one.
 
Starting small is a wise approach for both groups. 
 
Most of the first group probably do not accomplish their original objective because this realm of ours is far more complicated and involved than imagined.
Any kind of rule of progression thru difficulty level would probably not mesh with their degree of patience.
 
For the second group, the journey is purpose.
 
Moving up to a difficulty that exceeds skills  - probably attenuates most of the first group.  For the second, it just means shelving the difficult project and selecting a less difficult one.
 

@alross2Pardon the intrusion but perhaps you should consider adding some tags at the top:
Oregon
Bluejacket
Great White Fleet
?
 
I have an old'er book  The American Steel Navy  1972/1989 rep  - There are some interesting subjects in the Appendixes..
The Mariner's Museum has( or used to have ) a lot of models from the transition period from 1860 to 1914.  Most are so ugly that they are beautiful.

I believe back in the era when things were fast and loose - when diet pills contained live eggs from tapeworms -  What? they worked!
- shellac thinner was methanol - wood alcohol.  Now it is 95% ethanol -  with an emetic additive to make it tax free. 
Shellac has been listed as "cut".  One pound cut is 1 lb of flakes per gallon of alcohol.  
The amber version is saturated at 3-5 lb cut - I forget which.  I just read that Zinsser premixed is 3lb. 
The darker the color, the more wax.  The wax increases the solubility in alcohol.  I believe super blonde flakes saturate at about 1.5lb cut.
For a first coat - there is better penetration if the concentration is 50% saturated (1:1)  alcohol to dissolved shellac.
 
Until shellac is something that you are comfortable with - it is easier to use the pre-mixed.  Get a Qt. of shellac thinner too.
Amber if it is painted over or the natural wood wants "warming".
White if minimal effect on the existing color is desired.
 
For all practical purposes 95% ethanol is as water free as you can get.
Shellac thinner is less expensive.
 
Pharmco grain from the ABC store will work just as well (190 proof = 95%)  if you want to support state and Fed governments by paying taxes you don't need to pay.
If you come across a deal that seems too good to be true, there is probably a higher water concentration.
 
I have been wondering if moonshine would work.   I distilled ethanol long ago - the 95% comes out of the condenser as much smaller drops than water. 
But I am thinking that moonshine has been diluted or distilled with less care?  Doing the job that they do - already indicates that questionable ethics are in play -so dealing with a moonshiner is false economy.😉
 
 
Both, shellac and ethanol are natural products - brand is pretty much irrelevant.
"If you come across a deal that seems too good to be true, there is probably" something involved that you do not want.
 
For flakes -  right now I like the 1/4 lb bags from Lee Valley.  I am of the hope that the garnet flakes will have a pleasant effect on my Hard Maple - like adding 200 years to the look.

Theory =  full size paint does not need as fine a pigment grind and for reasons of cost probably does not.  At miniature scales, a close look probably resembles a gravel road.
 
I am pretty sure that @Bob Cleek has been espousing the use of premier quality arts oils - both water based and organic solvent based - the stuff in tubes - as the whole of what is needed.  
Infinite dilution,  a flattening agent can be added, for oil base,  polymerizing oils can be added,  these also have a catalyst to speed polymerization.  I would think that even the smallest tubes would last much longer than a mini-bottle of pre-mixed model paints.
 
Two solutions:
a primer coat of 1:1 diluted shellac followed by a full strength coat would provide an ideal base - plus mask any of Nature's glitches in the wood.
(Not sure about silicon from lubricant mis-spread being where it shouldn't = fish eye.)
 
After the final pre-sanding - paint the wood with water  or  water with 10-20% white PVA - then sand again.  This gets the water caused swelling out of the way.

I believe back in the era when things were fast and loose - when diet pills contained live eggs from tapeworms -  What? they worked!
- shellac thinner was methanol - wood alcohol.  Now it is 95% ethanol -  with an emetic additive to make it tax free. 
Shellac has been listed as "cut".  One pound cut is 1 lb of flakes per gallon of alcohol.  
The amber version is saturated at 3-5 lb cut - I forget which.  I just read that Zinsser premixed is 3lb. 
The darker the color, the more wax.  The wax increases the solubility in alcohol.  I believe super blonde flakes saturate at about 1.5lb cut.
For a first coat - there is better penetration if the concentration is 50% saturated (1:1)  alcohol to dissolved shellac.
 
Until shellac is something that you are comfortable with - it is easier to use the pre-mixed.  Get a Qt. of shellac thinner too.
Amber if it is painted over or the natural wood wants "warming".
White if minimal effect on the existing color is desired.
 
For all practical purposes 95% ethanol is as water free as you can get.
Shellac thinner is less expensive.
 
Pharmco grain from the ABC store will work just as well (190 proof = 95%)  if you want to support state and Fed governments by paying taxes you don't need to pay.
If you come across a deal that seems too good to be true, there is probably a higher water concentration.
 
I have been wondering if moonshine would work.   I distilled ethanol long ago - the 95% comes out of the condenser as much smaller drops than water. 
But I am thinking that moonshine has been diluted or distilled with less care?  Doing the job that they do - already indicates that questionable ethics are in play -so dealing with a moonshiner is false economy.😉
 
 
Both, shellac and ethanol are natural products - brand is pretty much irrelevant.
"If you come across a deal that seems too good to be true, there is probably" something involved that you do not want.
 
For flakes -  right now I like the 1/4 lb bags from Lee Valley.  I am of the hope that the garnet flakes will have a pleasant effect on my Hard Maple - like adding 200 years to the look.

I believe back in the era when things were fast and loose - when diet pills contained live eggs from tapeworms -  What? they worked!
- shellac thinner was methanol - wood alcohol.  Now it is 95% ethanol -  with an emetic additive to make it tax free. 
Shellac has been listed as "cut".  One pound cut is 1 lb of flakes per gallon of alcohol.  
The amber version is saturated at 3-5 lb cut - I forget which.  I just read that Zinsser premixed is 3lb. 
The darker the color, the more wax.  The wax increases the solubility in alcohol.  I believe super blonde flakes saturate at about 1.5lb cut.
For a first coat - there is better penetration if the concentration is 50% saturated (1:1)  alcohol to dissolved shellac.
 
Until shellac is something that you are comfortable with - it is easier to use the pre-mixed.  Get a Qt. of shellac thinner too.
Amber if it is painted over or the natural wood wants "warming".
White if minimal effect on the existing color is desired.
 
For all practical purposes 95% ethanol is as water free as you can get.
Shellac thinner is less expensive.
 
Pharmco grain from the ABC store will work just as well (190 proof = 95%)  if you want to support state and Fed governments by paying taxes you don't need to pay.
If you come across a deal that seems too good to be true, there is probably a higher water concentration.
 
I have been wondering if moonshine would work.   I distilled ethanol long ago - the 95% comes out of the condenser as much smaller drops than water. 
But I am thinking that moonshine has been diluted or distilled with less care?  Doing the job that they do - already indicates that questionable ethics are in play -so dealing with a moonshiner is false economy.😉
 
 
Both, shellac and ethanol are natural products - brand is pretty much irrelevant.
"If you come across a deal that seems too good to be true, there is probably" something involved that you do not want.
 
For flakes -  right now I like the 1/4 lb bags from Lee Valley.  I am of the hope that the garnet flakes will have a pleasant effect on my Hard Maple - like adding 200 years to the look.

Theory =  full size paint does not need as fine a pigment grind and for reasons of cost probably does not.  At miniature scales, a close look probably resembles a gravel road.
 
I am pretty sure that @Bob Cleek has been espousing the use of premier quality arts oils - both water based and organic solvent based - the stuff in tubes - as the whole of what is needed.  
Infinite dilution,  a flattening agent can be added, for oil base,  polymerizing oils can be added,  these also have a catalyst to speed polymerization.  I would think that even the smallest tubes would last much longer than a mini-bottle of pre-mixed model paints.
 
Two solutions:
a primer coat of 1:1 diluted shellac followed by a full strength coat would provide an ideal base - plus mask any of Nature's glitches in the wood.
(Not sure about silicon from lubricant mis-spread being where it shouldn't = fish eye.)
 
After the final pre-sanding - paint the wood with water  or  water with 10-20% white PVA - then sand again.  This gets the water caused swelling out of the way.

I have been singularly focused on aniline wood dyes.  Until recently, I have been stuck on the deeper penetration of the water base dye.  Now, I am thinking that at model scale, the difference between alcohol and water depth  is insignificant.  Alcohol as fewer side effects - mostly being faster and not effecting the grain.
 
Rite type fabric dyes probably have to include colorfast - laundry effects.  Not a factor with a model.
 
The careless slang confusion between what a wood dye actually is and a wood stain actually is can result in failure if the wrong agent is used.

@alross2Pardon the intrusion but perhaps you should consider adding some tags at the top:
Oregon
Bluejacket
Great White Fleet
?
 
I have an old'er book  The American Steel Navy  1972/1989 rep  - There are some interesting subjects in the Appendixes..
The Mariner's Museum has( or used to have ) a lot of models from the transition period from 1860 to 1914.  Most are so ugly that they are beautiful.

@alross2Pardon the intrusion but perhaps you should consider adding some tags at the top:
Oregon
Bluejacket
Great White Fleet
?
 
I have an old'er book  The American Steel Navy  1972/1989 rep  - There are some interesting subjects in the Appendixes..
The Mariner's Museum has( or used to have ) a lot of models from the transition period from 1860 to 1914.  Most are so ugly that they are beautiful.

Theory =  full size paint does not need as fine a pigment grind and for reasons of cost probably does not.  At miniature scales, a close look probably resembles a gravel road.
 
I am pretty sure that @Bob Cleek has been espousing the use of premier quality arts oils - both water based and organic solvent based - the stuff in tubes - as the whole of what is needed.  
Infinite dilution,  a flattening agent can be added, for oil base,  polymerizing oils can be added,  these also have a catalyst to speed polymerization.  I would think that even the smallest tubes would last much longer than a mini-bottle of pre-mixed model paints.
 
Two solutions:
a primer coat of 1:1 diluted shellac followed by a full strength coat would provide an ideal base - plus mask any of Nature's glitches in the wood.
(Not sure about silicon from lubricant mis-spread being where it shouldn't = fish eye.)
 
After the final pre-sanding - paint the wood with water  or  water with 10-20% white PVA - then sand again.  This gets the water caused swelling out of the way.

No experimental data, but for natural fibers:  linen and cotton  -   an alcohol dye solution should work as well as an aqueous dye. 
It should be as dyed as it is going to be - just as soon as it has soaked in - that is fairly close to immediately.
A continuous pulley set up  -  feed spool - down to a pulley in the alcohol solution - back up to a take up reel - would probably work for a long rope.
 
For man-made synthetic polymer line,  my guess is that it might not take at all.

For POB,  looking at the complicated - elaborate - time involved  clamps in post #1,  I set out to imagine a less involved way to get a similar force.
 
I came up with an "L" shaped threaded rod.  The short arm would fit into a hole drilled in the mould.  There would need to be a series of holes.  They would need to be drilled before attaching the mould to the spine.
On the long arm:  a bar of wood with a hole to slide down the rod , a washer, a wing nut.  There may need to be wedge shaped shims under the bar to get direct pressure at 90 degrees on the plank.
 
The last plank would need another sort of clamp.
 
POF with spaces could use a straight rod  - a bar inside the hull with a hole and washer/ nut  at the inside end.

For POB,  looking at the complicated - elaborate - time involved  clamps in post #1,  I set out to imagine a less involved way to get a similar force.
 
I came up with an "L" shaped threaded rod.  The short arm would fit into a hole drilled in the mould.  There would need to be a series of holes.  They would need to be drilled before attaching the mould to the spine.
On the long arm:  a bar of wood with a hole to slide down the rod , a washer, a wing nut.  There may need to be wedge shaped shims under the bar to get direct pressure at 90 degrees on the plank.
 
The last plank would need another sort of clamp.
 
POF with spaces could use a straight rod  - a bar inside the hull with a hole and washer/ nut  at the inside end.

For POB,  looking at the complicated - elaborate - time involved  clamps in post #1,  I set out to imagine a less involved way to get a similar force.
 
I came up with an "L" shaped threaded rod.  The short arm would fit into a hole drilled in the mould.  There would need to be a series of holes.  They would need to be drilled before attaching the mould to the spine.
On the long arm:  a bar of wood with a hole to slide down the rod , a washer, a wing nut.  There may need to be wedge shaped shims under the bar to get direct pressure at 90 degrees on the plank.
 
The last plank would need another sort of clamp.
 
POF with spaces could use a straight rod  - a bar inside the hull with a hole and washer/ nut  at the inside end.

Well, your in luck with a whaleboat, since they were pretty much only two colors, black and white. Sometimes the inboard was painted gray, but that's just black and white mixed together. (Some carried a brightly colored sheer strake for long-range identification from the mother ship, as well.) 
 
Any of the modeling paints would be fine. Seal the wood with clear ("white") shellac and then paint. Some use a sanding basecoat and then a finish top coat. The sanding base coat will permit a very fine finish which is required for the proper scale appearance. 
 
Review the painting section of the forum. It's full of good information on the subject.
 

You could always lower the river instead of raising the bridge.  What I mean is seat the floors on the keel and fit small individual fillers between them on top of the keel.
The cross chock can sit on the keel also.  The piece between then becomes deadwood.   Since a model does not need to have water being able to communicate P to S, 
 
I prefer to have the deadwood fill the entire space between the top of the keel and the bottom of the keelson.   The deadwood can be dyed black.   I believe that in some vessels there was a one inch gap for the water and the rest of the space had chocks.  It would look like continuous deadwood.  This sort of detail was something that the shipwrights would do without it being on the plan.  There were other chocks between the frames all the way to the sheer.  Again, not something a designer would need to draw.

Thanks,
 
The general idea has been bouncing in my memory bank for a while.
I first envisioned the general concept as a way to use a Pine mould for a cast hull.
I read a sort of recent posting by someone scratch building a steel ship with a lot of trumblehome - for an RC project. 
A standard single cast plastic (epoxy?) shell would have been ideal for the model, but a solid carved hull form would not work.
The standard carved hull method = layers (lamination) based on WL lines would not work.
My default approach - = layers (sandwiches) based on the Body plans stations would only work if the two sections at the deadflat  were three parts to allow removal. ( Unfortunate, since the carving (shaping/sanding) is so much easier, faster and an easier way to achieve  accuracy . )
But Buttock lines layers would work.  Three lamination would do the job.  The center ( keel profile ) layer easier to extract.
Too bad that I have limited my interest to the core of the wooden era 1650 - 1860.  It would be an interesting experiment.

Thanks,
 
The general idea has been bouncing in my memory bank for a while.
I first envisioned the general concept as a way to use a Pine mould for a cast hull.
I read a sort of recent posting by someone scratch building a steel ship with a lot of trumblehome - for an RC project. 
A standard single cast plastic (epoxy?) shell would have been ideal for the model, but a solid carved hull form would not work.
The standard carved hull method = layers (lamination) based on WL lines would not work.
My default approach - = layers (sandwiches) based on the Body plans stations would only work if the two sections at the deadflat  were three parts to allow removal. ( Unfortunate, since the carving (shaping/sanding) is so much easier, faster and an easier way to achieve  accuracy . )
But Buttock lines layers would work.  Three lamination would do the job.  The center ( keel profile ) layer easier to extract.
Too bad that I have limited my interest to the core of the wooden era 1650 - 1860.  It would be an interesting experiment.

Thanks,
 
The general idea has been bouncing in my memory bank for a while.
I first envisioned the general concept as a way to use a Pine mould for a cast hull.
I read a sort of recent posting by someone scratch building a steel ship with a lot of trumblehome - for an RC project. 
A standard single cast plastic (epoxy?) shell would have been ideal for the model, but a solid carved hull form would not work.
The standard carved hull method = layers (lamination) based on WL lines would not work.
My default approach - = layers (sandwiches) based on the Body plans stations would only work if the two sections at the deadflat  were three parts to allow removal. ( Unfortunate, since the carving (shaping/sanding) is so much easier, faster and an easier way to achieve  accuracy . )
But Buttock lines layers would work.  Three lamination would do the job.  The center ( keel profile ) layer easier to extract.
Too bad that I have limited my interest to the core of the wooden era 1650 - 1860.  It would be an interesting experiment.

Should you not be able to find ready made casks and have to fabricate them:
Building them over a form would mean having to turn only one master core.
A solid core form would not work - it cannot be removed.
The stock to be turned could be a five piece Jenga type assembly - four outer pieces and a square center piece.
The form can be turned at the end of a longer five piece stick.  Dowels, pins, or finish nails used to keep everything in one piece.
The turning may require gluing the five with a glue that can be reversed.  PVA - Iso-OH  or hide glue - hot ethanol  or maybe Duco - acetone.
Saran Wrap.
After the staves are in place and bound by the hoops, the square center of the form can be pulled out.
The two opposing outer sections that are the same width as the core, be moved into the center and pulled out.
Then the last two popped lose and pulled out.
The staves can be paper or 3x5 card material.
 
A power drill makes for a low cost lathe, but they do not come with 4 jaw chucks, so holding the square stock would take some work.
 

Should you not be able to find ready made casks and have to fabricate them:
Building them over a form would mean having to turn only one master core.
A solid core form would not work - it cannot be removed.
The stock to be turned could be a five piece Jenga type assembly - four outer pieces and a square center piece.
The form can be turned at the end of a longer five piece stick.  Dowels, pins, or finish nails used to keep everything in one piece.
The turning may require gluing the five with a glue that can be reversed.  PVA - Iso-OH  or hide glue - hot ethanol  or maybe Duco - acetone.
Saran Wrap.
After the staves are in place and bound by the hoops, the square center of the form can be pulled out.
The two opposing outer sections that are the same width as the core, be moved into the center and pulled out.
Then the last two popped lose and pulled out.
The staves can be paper or 3x5 card material.
 
A power drill makes for a low cost lathe, but they do not come with 4 jaw chucks, so holding the square stock would take some work.
 

Should you not be able to find ready made casks and have to fabricate them:
Building them over a form would mean having to turn only one master core.
A solid core form would not work - it cannot be removed.
The stock to be turned could be a five piece Jenga type assembly - four outer pieces and a square center piece.
The form can be turned at the end of a longer five piece stick.  Dowels, pins, or finish nails used to keep everything in one piece.
The turning may require gluing the five with a glue that can be reversed.  PVA - Iso-OH  or hide glue - hot ethanol  or maybe Duco - acetone.
Saran Wrap.
After the staves are in place and bound by the hoops, the square center of the form can be pulled out.
The two opposing outer sections that are the same width as the core, be moved into the center and pulled out.
Then the last two popped lose and pulled out.
The staves can be paper or 3x5 card material.
 
A power drill makes for a low cost lathe, but they do not come with 4 jaw chucks, so holding the square stock would take some work.