Jaager

I would guess that there are more than a few objects from the past that were subjected to the sort of plan that you have for these planes.   Then later when the objects came to valued by collectors who place a premium on pristine original condition and patina and such,  come across ones that have been 'repaired and improved for use in the modern era'  - well the least of their reactions would be to use a photo of the "improve it and use it" as a dartboard.
 
These old tools were probably hand made.   Give a thought to backing your ambition to a previous crossroad. 
Have the originals be plans for you to make complete and exact replicas - using currently available materials - for your use.  Or buy the best quality modern versions from commercial sources for your use.  Then store the originals under the best stasis chamber conditions that you can manage  and leave the restoration to a professional -  or apprentice yourself to a professional in restoration before you do it yourself.
 
Who knew that Buxus sepervirens  would become a unicorn?  Back in 1972 when I started in this - and it was available to buy from hardwood dealers?

I would guess that there are more than a few objects from the past that were subjected to the sort of plan that you have for these planes.   Then later when the objects came to valued by collectors who place a premium on pristine original condition and patina and such,  come across ones that have been 'repaired and improved for use in the modern era'  - well the least of their reactions would be to use a photo of the "improve it and use it" as a dartboard.
 
These old tools were probably hand made.   Give a thought to backing your ambition to a previous crossroad. 
Have the originals be plans for you to make complete and exact replicas - using currently available materials - for your use.  Or buy the best quality modern versions from commercial sources for your use.  Then store the originals under the best stasis chamber conditions that you can manage  and leave the restoration to a professional -  or apprentice yourself to a professional in restoration before you do it yourself.
 
Who knew that Buxus sepervirens  would become a unicorn?  Back in 1972 when I started in this - and it was available to buy from hardwood dealers?

I thought that you  kept a lot of your tools.  That you could start with scratch building from the start,
Some of us make more of a racket, but it is my perception that kit adherents far out number scratch builders here.  So if doing a kit is your goal, you will be in the majority.
In that case a reading of the post For Beginners -- A Cautionary Tale   may save a misstep.
 
Experience with plastic kits can give you an inaccurate expectation for what a wooden kit supplies - although the laser cut parts of recent kits are narrowing the gap.  Except for the finish, a plastic kit tends to be a world unto itself and the instructions reflect this.
A wood kit is not assembly so much as it is fabrication of multiple sub components and then assembly of them.  Any kit will have much in common with every other kit as far as the skills and techniques used and needed for the fabrication.  It is boring and redundant and kinda silly to include those common skills and techniques in every set of kit instructions.  Most mfg. tend not to do it.   A wooden kit tends to be a small room in a huge structure.   To be successful it almost always requires starting small and simple and progressing up with the accretion  of skills and knowledge.  Then one day you wake up and know you can do any of it.
It is possible to start big and learn as you go.   This usually means a lot longer time spent on one vessel,  stops and starts as you learn to do each interval, having parts that you wish you had done better, or discarding a kit part mistake and replacing it with a scratch built part.   A large and complicated subject for a first one can be overwhelming when viewed as a whole and many give up.  Starting small helps in being able to see the project as a series of easily done small increments.  Even with a scratch project, if you make the mistake of viewing it as one big job, it can make you want to stop and go do something else.
 
 
 

ANCRE provided a sheet with color chips for paints from before synthetic pigments were created by the German chemical industry.
 
The paint product that I found that matches is:
Winsor & Newton Winton Oil Color Paint, 37-ml Tube, Vermilion Hue
Every artist's oil company probably has Vermilion.
A 37 ml tube should last a very long time.
This is a more sophisticated way to apply color.  It is organic solvent based.  Bob Cleek  @Bob Cleek has written at least one sufficiently detailed description of how to use this system of pigments.   From what I have read, the particle size is fine enough to be easily adapted for use in an airbrush as well as brushing. 
It is a time proven system.  If that is a factor with you.  The water based acrylic plastic matrix is an on going experiment as far as how it fares over time.

Chuck and the other kit suppliers that are mostly anchored here are what I term boutiques.  They are in it for the love of it as much as anything else.  The quality of the materials and attention to detail are very different from the Europe based kit manufacturers. 
Glossy pictures of a first rate or third rate and advertising copy that suggests that anyone can build a masterpiece with no more prior knowledge than what is necessary to assemble a plastic kit - usually seductive and the focus is on how wonderful the finished ship will be.   These kits have little in common with a kit from a boutique.  
Model Shipways and Blue Jacket are not exactly boutiques, but their products are quality,  It is prudent to take note of their suggestion as to skill level required and to be painfully sober about how you access your skill level.
 
A high volume of sawdust is mostly a part of larger scale scratch POF.
IF you become obsessed with milling your own stock from  - say 8x4 rough lumber - you will kick yourself if you had a 14" bandsaw and sold it.  If you sold a 10" or 12" table saw - that is for the best - enjoy having all of your fingers.   
An edger would be nice, but it not necessary.  I have never found the need to use a router. You will not need a planner with a blade -  A Byrnes thickness sander is almost a necessity if you need to produce custom thickness stock.  Now that machine generates sawdust!  The design has pretty much all of the sawdust going to the cyclone trap in line with absolutely necessary shop vac.  The Byrnes table saw needs the vac attached too.  And so does the 5" disk sander.
Unless you are fabricating your own metal tools, there are only a few jobs for a mill or a lathe to do with a ship model.  And most all of those jobs can be done using a 1/2" drill fixed on its back in a jig. 

A Sane 74  (one of 120 that were built) was ~ 172' x 46'  just the main hull  @ 1:48   close to 4 feet long and one foot wide.  You add spars and it is significantly longer.
The Boudriot 74 series  started, I think as an anatomy book and not oriented to a modeler.  The complete internal detail led some modelers to replicate all of it - as a stunt and to show off.  The latter worked too well because now it has become a sort of fad and expectation.  Doing the guts along with the rest, that is.
To quote Chris Rock:  "Sure you can do it, but that doesn't mean that it is a good idea."

I thought that you  kept a lot of your tools.  That you could start with scratch building from the start,
Some of us make more of a racket, but it is my perception that kit adherents far out number scratch builders here.  So if doing a kit is your goal, you will be in the majority.
In that case a reading of the post For Beginners -- A Cautionary Tale   may save a misstep.
 
Experience with plastic kits can give you an inaccurate expectation for what a wooden kit supplies - although the laser cut parts of recent kits are narrowing the gap.  Except for the finish, a plastic kit tends to be a world unto itself and the instructions reflect this.
A wood kit is not assembly so much as it is fabrication of multiple sub components and then assembly of them.  Any kit will have much in common with every other kit as far as the skills and techniques used and needed for the fabrication.  It is boring and redundant and kinda silly to include those common skills and techniques in every set of kit instructions.  Most mfg. tend not to do it.   A wooden kit tends to be a small room in a huge structure.   To be successful it almost always requires starting small and simple and progressing up with the accretion  of skills and knowledge.  Then one day you wake up and know you can do any of it.
It is possible to start big and learn as you go.   This usually means a lot longer time spent on one vessel,  stops and starts as you learn to do each interval, having parts that you wish you had done better, or discarding a kit part mistake and replacing it with a scratch built part.   A large and complicated subject for a first one can be overwhelming when viewed as a whole and many give up.  Starting small helps in being able to see the project as a series of easily done small increments.  Even with a scratch project, if you make the mistake of viewing it as one big job, it can make you want to stop and go do something else.
 
 
 

Chuck and the other kit suppliers that are mostly anchored here are what I term boutiques.  They are in it for the love of it as much as anything else.  The quality of the materials and attention to detail are very different from the Europe based kit manufacturers. 
Glossy pictures of a first rate or third rate and advertising copy that suggests that anyone can build a masterpiece with no more prior knowledge than what is necessary to assemble a plastic kit - usually seductive and the focus is on how wonderful the finished ship will be.   These kits have little in common with a kit from a boutique.  
Model Shipways and Blue Jacket are not exactly boutiques, but their products are quality,  It is prudent to take note of their suggestion as to skill level required and to be painfully sober about how you access your skill level.
 
A high volume of sawdust is mostly a part of larger scale scratch POF.
IF you become obsessed with milling your own stock from  - say 8x4 rough lumber - you will kick yourself if you had a 14" bandsaw and sold it.  If you sold a 10" or 12" table saw - that is for the best - enjoy having all of your fingers.   
An edger would be nice, but it not necessary.  I have never found the need to use a router. You will not need a planner with a blade -  A Byrnes thickness sander is almost a necessity if you need to produce custom thickness stock.  Now that machine generates sawdust!  The design has pretty much all of the sawdust going to the cyclone trap in line with absolutely necessary shop vac.  The Byrnes table saw needs the vac attached too.  And so does the 5" disk sander.
Unless you are fabricating your own metal tools, there are only a few jobs for a mill or a lathe to do with a ship model.  And most all of those jobs can be done using a 1/2" drill fixed on its back in a jig. 

I thought that you  kept a lot of your tools.  That you could start with scratch building from the start,
Some of us make more of a racket, but it is my perception that kit adherents far out number scratch builders here.  So if doing a kit is your goal, you will be in the majority.
In that case a reading of the post For Beginners -- A Cautionary Tale   may save a misstep.
 
Experience with plastic kits can give you an inaccurate expectation for what a wooden kit supplies - although the laser cut parts of recent kits are narrowing the gap.  Except for the finish, a plastic kit tends to be a world unto itself and the instructions reflect this.
A wood kit is not assembly so much as it is fabrication of multiple sub components and then assembly of them.  Any kit will have much in common with every other kit as far as the skills and techniques used and needed for the fabrication.  It is boring and redundant and kinda silly to include those common skills and techniques in every set of kit instructions.  Most mfg. tend not to do it.   A wooden kit tends to be a small room in a huge structure.   To be successful it almost always requires starting small and simple and progressing up with the accretion  of skills and knowledge.  Then one day you wake up and know you can do any of it.
It is possible to start big and learn as you go.   This usually means a lot longer time spent on one vessel,  stops and starts as you learn to do each interval, having parts that you wish you had done better, or discarding a kit part mistake and replacing it with a scratch built part.   A large and complicated subject for a first one can be overwhelming when viewed as a whole and many give up.  Starting small helps in being able to see the project as a series of easily done small increments.  Even with a scratch project, if you make the mistake of viewing it as one big job, it can make you want to stop and go do something else.
 
 
 

I thought that you  kept a lot of your tools.  That you could start with scratch building from the start,
Some of us make more of a racket, but it is my perception that kit adherents far out number scratch builders here.  So if doing a kit is your goal, you will be in the majority.
In that case a reading of the post For Beginners -- A Cautionary Tale   may save a misstep.
 
Experience with plastic kits can give you an inaccurate expectation for what a wooden kit supplies - although the laser cut parts of recent kits are narrowing the gap.  Except for the finish, a plastic kit tends to be a world unto itself and the instructions reflect this.
A wood kit is not assembly so much as it is fabrication of multiple sub components and then assembly of them.  Any kit will have much in common with every other kit as far as the skills and techniques used and needed for the fabrication.  It is boring and redundant and kinda silly to include those common skills and techniques in every set of kit instructions.  Most mfg. tend not to do it.   A wooden kit tends to be a small room in a huge structure.   To be successful it almost always requires starting small and simple and progressing up with the accretion  of skills and knowledge.  Then one day you wake up and know you can do any of it.
It is possible to start big and learn as you go.   This usually means a lot longer time spent on one vessel,  stops and starts as you learn to do each interval, having parts that you wish you had done better, or discarding a kit part mistake and replacing it with a scratch built part.   A large and complicated subject for a first one can be overwhelming when viewed as a whole and many give up.  Starting small helps in being able to see the project as a series of easily done small increments.  Even with a scratch project, if you make the mistake of viewing it as one big job, it can make you want to stop and go do something else.
 
 
 

Michael,
Even if you find one - and there is a "kit" of a Sane 74 @ 1:75  - you don't really want it!  Given your skill level - think emoji of pinched nose/bad smell.

ANCRE provided a sheet with color chips for paints from before synthetic pigments were created by the German chemical industry.
 
The paint product that I found that matches is:
Winsor & Newton Winton Oil Color Paint, 37-ml Tube, Vermilion Hue
Every artist's oil company probably has Vermilion.
A 37 ml tube should last a very long time.
This is a more sophisticated way to apply color.  It is organic solvent based.  Bob Cleek  @Bob Cleek has written at least one sufficiently detailed description of how to use this system of pigments.   From what I have read, the particle size is fine enough to be easily adapted for use in an airbrush as well as brushing. 
It is a time proven system.  If that is a factor with you.  The water based acrylic plastic matrix is an on going experiment as far as how it fares over time.

Buried back in some old threads are discussions of linen yarn sources.  Most obvious are Etsy vendors from the Baltic region.   Most is natural so that it looks like greenish hemp.  A problem is that the smaller diameter yarns have inclusions from being poorly combed.  A Byrnes ropewalk includes enough stress that the yarn breaks more often than not.
 
For nomenclature:  plant fibers< yarn < thread     With linen it is yarn = rope     with cotton it is tread = rope   
There is some some really small stuff from Western Europe that is three yarns twisted, so it is ready made rope.   The links are in the archives.  But who knows what SARS-2 has wrought as far as all of them surviving?
Which enforces my bias of picking one running rigging color ( half bleached or white if that is all that is offered) - buy a lot - dye it to make standing rigging.  
To me, rigging that looks like a piano keyboard just looks wrong.

Marcus,
Is your fleet going to be vessels from post 1860?  If they are not, A dark dark red brown may be closer to what standing rigging was like.
I just looked up the definition of Ecru -  essentially it is the color of unbleached linen.  This should pass for running rigging and dosing this with
a dark Walnut Rit dye (or similar product) for standing rigging.  This would simplify your inventory to just one color yarn (if linen) or thread if cotton.

ANCRE provided a sheet with color chips for paints from before synthetic pigments were created by the German chemical industry.
 
The paint product that I found that matches is:
Winsor & Newton Winton Oil Color Paint, 37-ml Tube, Vermilion Hue
Every artist's oil company probably has Vermilion.
A 37 ml tube should last a very long time.
This is a more sophisticated way to apply color.  It is organic solvent based.  Bob Cleek  @Bob Cleek has written at least one sufficiently detailed description of how to use this system of pigments.   From what I have read, the particle size is fine enough to be easily adapted for use in an airbrush as well as brushing. 
It is a time proven system.  If that is a factor with you.  The water based acrylic plastic matrix is an on going experiment as far as how it fares over time.

Plastic model assembly is not really all that much help in preparation for the skills and tools used for building a wooden hull.  
A major advantage of a wood based model for a plastic one is that it is much easier to backup and redo - often with much better quality wood - if you so choose.   The plans that come with the kit should have the patterns  for the parts that have been poorly assembled.  Obtain plywood stock,  It can be AA quality and thicker than the kit supplied.  Scan the patterns - double check for any scanner distortion and adjust and cement to the new plywood, cut the replacement parts out and assemble using your hard learned experience.    Check the vendors here,  planking stock is available.  The species will be much more scale appropriate. 

I interpret this as she has finished quite a few models and this would be the most difficult that she has built thus far.  

I think the term "difficult" is very subjective.   It depends on many factors such as "how much experience do you have?", "how much detail in the kit?".  And then there's this one:  "How much scratch building of parts?" By that, some kits gave you a sheet of wood and a plan and basically you had to cut out and shape the part.  
 
 

Allan,
 
I at first thought that the post title was a question.   Instead, it is a statement.
What professional woodworkers mean by Black Walnut is Juglans nigra .   Just what you are displaying.
For furniture, rifle stocks,  it is a much favored wood.  Local to me, a quick search finds it readily available.  Premium with little sapwood 8/4  >9.5" wide lists @ $13.00 /BF.
For our uses, other than as baseboards and case framing,  even this species is less than ideal.  It is open pore.  It is probably too dark for use on a model.
It has a limited range - Eastern US.   The European Juglans regia is not as rich in color, but also has the same grain problem.  The stuff in mass market kits is probably not any species of Juglans.  Likely it is a tropical species of Mahogany with even larger pores, grain that is coarse and brittle and with only a passing glance as far as the color of Black Walnut.   It is pretty much wrong in every way for a ship model.
 
Real Black Walnut  wood is not the worst species of wood for ship modeling, but it is low on the list.  If it is an exotic import for someone who is considering it, much better choices can be made.
 
The husks have commercial value.  They are a source for a Walnut shade dye.  I think that picking up fermented husks barehanded tends to leave fingers with an interesting color.
I think it was The Radio Reader narrating Conrad Richter's The Trees where I heard just how large and formidable were the Black Walnut trees in the Ohio country at the end of the 18th century.  Before they were savagely attacked, felled, and mostly burned to open the land to the Sun.  An awful waste.
 

Allan,
 
I at first thought that the post title was a question.   Instead, it is a statement.
What professional woodworkers mean by Black Walnut is Juglans nigra .   Just what you are displaying.
For furniture, rifle stocks,  it is a much favored wood.  Local to me, a quick search finds it readily available.  Premium with little sapwood 8/4  >9.5" wide lists @ $13.00 /BF.
For our uses, other than as baseboards and case framing,  even this species is less than ideal.  It is open pore.  It is probably too dark for use on a model.
It has a limited range - Eastern US.   The European Juglans regia is not as rich in color, but also has the same grain problem.  The stuff in mass market kits is probably not any species of Juglans.  Likely it is a tropical species of Mahogany with even larger pores, grain that is coarse and brittle and with only a passing glance as far as the color of Black Walnut.   It is pretty much wrong in every way for a ship model.
 
Real Black Walnut  wood is not the worst species of wood for ship modeling, but it is low on the list.  If it is an exotic import for someone who is considering it, much better choices can be made.
 
The husks have commercial value.  They are a source for a Walnut shade dye.  I think that picking up fermented husks barehanded tends to leave fingers with an interesting color.
I think it was The Radio Reader narrating Conrad Richter's The Trees where I heard just how large and formidable were the Black Walnut trees in the Ohio country at the end of the 18th century.  Before they were savagely attacked, felled, and mostly burned to open the land to the Sun.  An awful waste.
 

Welcome aboard.
With some new mwmber introductions,  I become inspired to put myself at your place and fantasize about what I would consider in your place, but reflecting on the possibilities I have observed.    You have a unique and extensive skill set and this offers you a shot at a golden ring level of work, once you have become grounded in the specialized knowledge necessary in understanding what wooden sailing ships were all about.
 
We of identical minds about the possible artistry in all of this.
I consider the ultimate examples to be the models from the last 1/3 rd of the 17th century.  
The following books offer examples:
 
Historic Ship Models of the Seventeenth and Eighteenth Centuries in the Kriegstein Collection
Arnold Kriegstein, Henry Kriegstein    
Seaforth Publishing
 
NAVY BOARD  SHIP MODELS 1650-1750                                
FRANKLIN,JOHN                                                    
US NAVAL INSTITUTE PRESS                     
ANNAPOLIS, MD            
1989
 

A full 1:48 scale model of these gilded palaces is a major time sink and produces an object that is a Baby Huey when it comes to displaying it.
A more miniature scale would remove some of the problems with a larger scale model.
The following books show the work of some true artists at miniatures.
Most of their work is at 1:192 scale  - size that is a world unto itself.
I would go a bit larger  1:120.  Small enough to display a fleet, but large enough to not drive you crazy with the details.
The 1:192 scale appears at first to be 1/4 the size of the original models.  but it is actually  1.5%  of 1:48 in volume.
The 1:120 scale appears to be 40% of 1:48   but a finished model is 6.4% of 1:48 in volume.  Not a jewel, but no furniture has to be moved either.

SHIPBUILDING IN MINIATURE  2ND ED                                
MCNARRY,DONALD                                                   
ARCO PUBL INC                                
NEW YORK                 
1982
SHIPS IN MINIATURE                                               
MCCAFFERY,LLOYD                                                  
PHOENIX PUBL                                                          
1988
Building a Moniature Navy Board Model
Reed, Phillip
Seaforth
2009

Now,  about your prior job,  I have a question that I involves it.   My favorite opera is Khovanshchina - Moussorgsky -Shostakovich completed version.  In the 5th act there is a tune sung by Andrei Khovansky.  It is only 8 lines, but it is at least as compelling as any in Opera, and I have never it it sung in any recital or male singer's show off set and I am puzzled as to why not?    The Blues guys can make a whole thing from working with just 8 lines, why not Opera?

Welcome aboard.
With some new mwmber introductions,  I become inspired to put myself at your place and fantasize about what I would consider in your place, but reflecting on the possibilities I have observed.    You have a unique and extensive skill set and this offers you a shot at a golden ring level of work, once you have become grounded in the specialized knowledge necessary in understanding what wooden sailing ships were all about.
 
We of identical minds about the possible artistry in all of this.
I consider the ultimate examples to be the models from the last 1/3 rd of the 17th century.  
The following books offer examples:
 
Historic Ship Models of the Seventeenth and Eighteenth Centuries in the Kriegstein Collection
Arnold Kriegstein, Henry Kriegstein    
Seaforth Publishing
 
NAVY BOARD  SHIP MODELS 1650-1750                                
FRANKLIN,JOHN                                                    
US NAVAL INSTITUTE PRESS                     
ANNAPOLIS, MD            
1989
 

A full 1:48 scale model of these gilded palaces is a major time sink and produces an object that is a Baby Huey when it comes to displaying it.
A more miniature scale would remove some of the problems with a larger scale model.
The following books show the work of some true artists at miniatures.
Most of their work is at 1:192 scale  - size that is a world unto itself.
I would go a bit larger  1:120.  Small enough to display a fleet, but large enough to not drive you crazy with the details.
The 1:192 scale appears at first to be 1/4 the size of the original models.  but it is actually  1.5%  of 1:48 in volume.
The 1:120 scale appears to be 40% of 1:48   but a finished model is 6.4% of 1:48 in volume.  Not a jewel, but no furniture has to be moved either.

SHIPBUILDING IN MINIATURE  2ND ED                                
MCNARRY,DONALD                                                   
ARCO PUBL INC                                
NEW YORK                 
1982
SHIPS IN MINIATURE                                               
MCCAFFERY,LLOYD                                                  
PHOENIX PUBL                                                          
1988
Building a Moniature Navy Board Model
Reed, Phillip
Seaforth
2009

Now,  about your prior job,  I have a question that I involves it.   My favorite opera is Khovanshchina - Moussorgsky -Shostakovich completed version.  In the 5th act there is a tune sung by Andrei Khovansky.  It is only 8 lines, but it is at least as compelling as any in Opera, and I have never it it sung in any recital or male singer's show off set and I am puzzled as to why not?    The Blues guys can make a whole thing from working with just 8 lines, why not Opera?

Welcome aboard.
With some new mwmber introductions,  I become inspired to put myself at your place and fantasize about what I would consider in your place, but reflecting on the possibilities I have observed.    You have a unique and extensive skill set and this offers you a shot at a golden ring level of work, once you have become grounded in the specialized knowledge necessary in understanding what wooden sailing ships were all about.
 
We of identical minds about the possible artistry in all of this.
I consider the ultimate examples to be the models from the last 1/3 rd of the 17th century.  
The following books offer examples:
 
Historic Ship Models of the Seventeenth and Eighteenth Centuries in the Kriegstein Collection
Arnold Kriegstein, Henry Kriegstein    
Seaforth Publishing
 
NAVY BOARD  SHIP MODELS 1650-1750                                
FRANKLIN,JOHN                                                    
US NAVAL INSTITUTE PRESS                     
ANNAPOLIS, MD            
1989
 

A full 1:48 scale model of these gilded palaces is a major time sink and produces an object that is a Baby Huey when it comes to displaying it.
A more miniature scale would remove some of the problems with a larger scale model.
The following books show the work of some true artists at miniatures.
Most of their work is at 1:192 scale  - size that is a world unto itself.
I would go a bit larger  1:120.  Small enough to display a fleet, but large enough to not drive you crazy with the details.
The 1:192 scale appears at first to be 1/4 the size of the original models.  but it is actually  1.5%  of 1:48 in volume.
The 1:120 scale appears to be 40% of 1:48   but a finished model is 6.4% of 1:48 in volume.  Not a jewel, but no furniture has to be moved either.

SHIPBUILDING IN MINIATURE  2ND ED                                
MCNARRY,DONALD                                                   
ARCO PUBL INC                                
NEW YORK                 
1982
SHIPS IN MINIATURE                                               
MCCAFFERY,LLOYD                                                  
PHOENIX PUBL                                                          
1988
Building a Moniature Navy Board Model
Reed, Phillip
Seaforth
2009

Now,  about your prior job,  I have a question that I involves it.   My favorite opera is Khovanshchina - Moussorgsky -Shostakovich completed version.  In the 5th act there is a tune sung by Andrei Khovansky.  It is only 8 lines, but it is at least as compelling as any in Opera, and I have never it it sung in any recital or male singer's show off set and I am puzzled as to why not?    The Blues guys can make a whole thing from working with just 8 lines, why not Opera?

The NRG link at the top of this page. (More) (NRG store) The guild store sells the CD's for both journals. You can also subscribe for the current issues.
SIS and Model Shipwright no longer publish. There is a CD with issues of an even earlier journal that died - Model Ship Builder. 

Both are excellent books.  There is no Arban manual for this endeavor  - no single "answer-to-it".
It is more like a hermit crab adding bits from here and bits from there and it can be a money sink.
The NRJ back issue CD's and SIS CD's have a wealth of information.  It would be wonderful if the same could be done for Model Shipbuilder.