SJSoane

HI everyone,
A long time since my last post. I realized that I was getting to far ahead of myself, building up the stern with everything just pinned. I needed first to paint the lower and upper counters before I could actually start assembling things.
 
And learning how to paint the friezes was a major learning curve!
 
I greatly followed David Antscherl's advice on painting in the Fully Frame Model, vol. II section 7.26. It was exceptionally helpful for everything from paint and brushes to technique.
 
Alas, I discovered after a great deal of experimentation that hand painting alone did not work well for me. Particularly for the background Prussian blue and the letters "Bellona" on the stern, I needed a way to get things sharper and more even in tone. So, I turned to my airbrush. I masked everything but the counter and sprayed away.
 
 

I glued artist's frisk onto a print of the upper counter letters and frieze elements (a woman riding a sea monster, a man riding a galloping horse). I could then turn the frisk/print every which way on my light table, and very carefully cut the frisk with a scalpel. I then attached the frisk and sprayed everything that would be the yellow ochre base for all of the frieze work:
 

I then used white graphite transfer paper to trace the rest of the pattern onto the surfaces:
 

Then following David's advice of painting highlights and shadows on the basic forms, I eventually got to an imperfect copy of the original Bellona model:
 

I learned to admire those original model builders for their painting skill. Try as I might, I just could not get to the same level of skill. But as good as I can do! So, moving on to actually gluing together the stern!
 
I did learn a few good things that I will pass on for anyone else attempting these kinds of friezes.
 
First, after trying a number of airbrush and hand paint brands, I settled on Golden. They have the same colors in different densities, for airbrushing and hand painting; the colors match the historic colors I was looking for; they come in plastic bottles with ball bearing inside, for mixing. They spray without problems through my airbrush. And they are highly regarded in the artist community.
 
Second, I struggled with the acrylic paint drying too quickly on the palette when I was trying to mix colors. My son introduced me to the model gamers' favorite tool, the Army Painter Wet Palette. This tray holds a water saturated pad, upon which is placed a parchment sheet. Paint mixed on top of the parchment can stay wet and mixable for as long as 48 hours. A huge help!
 
A glass of wine tonight in celebration, and on to assembling the stern!
 
Mark
 
 

 
 
 

HI everyone,
A long time since my last post. I realized that I was getting to far ahead of myself, building up the stern with everything just pinned. I needed first to paint the lower and upper counters before I could actually start assembling things.
 
And learning how to paint the friezes was a major learning curve!
 
I greatly followed David Antscherl's advice on painting in the Fully Frame Model, vol. II section 7.26. It was exceptionally helpful for everything from paint and brushes to technique.
 
Alas, I discovered after a great deal of experimentation that hand painting alone did not work well for me. Particularly for the background Prussian blue and the letters "Bellona" on the stern, I needed a way to get things sharper and more even in tone. So, I turned to my airbrush. I masked everything but the counter and sprayed away.
 
 

I glued artist's frisk onto a print of the upper counter letters and frieze elements (a woman riding a sea monster, a man riding a galloping horse). I could then turn the frisk/print every which way on my light table, and very carefully cut the frisk with a scalpel. I then attached the frisk and sprayed everything that would be the yellow ochre base for all of the frieze work:
 

I then used white graphite transfer paper to trace the rest of the pattern onto the surfaces:
 

Then following David's advice of painting highlights and shadows on the basic forms, I eventually got to an imperfect copy of the original Bellona model:
 

I learned to admire those original model builders for their painting skill. Try as I might, I just could not get to the same level of skill. But as good as I can do! So, moving on to actually gluing together the stern!
 
I did learn a few good things that I will pass on for anyone else attempting these kinds of friezes.
 
First, after trying a number of airbrush and hand paint brands, I settled on Golden. They have the same colors in different densities, for airbrushing and hand painting; the colors match the historic colors I was looking for; they come in plastic bottles with ball bearing inside, for mixing. They spray without problems through my airbrush. And they are highly regarded in the artist community.
 
Second, I struggled with the acrylic paint drying too quickly on the palette when I was trying to mix colors. My son introduced me to the model gamers' favorite tool, the Army Painter Wet Palette. This tray holds a water saturated pad, upon which is placed a parchment sheet. Paint mixed on top of the parchment can stay wet and mixable for as long as 48 hours. A huge help!
 
A glass of wine tonight in celebration, and on to assembling the stern!
 
Mark
 
 

 
 
 

HI everyone,
A long time since my last post. I realized that I was getting to far ahead of myself, building up the stern with everything just pinned. I needed first to paint the lower and upper counters before I could actually start assembling things.
 
And learning how to paint the friezes was a major learning curve!
 
I greatly followed David Antscherl's advice on painting in the Fully Frame Model, vol. II section 7.26. It was exceptionally helpful for everything from paint and brushes to technique.
 
Alas, I discovered after a great deal of experimentation that hand painting alone did not work well for me. Particularly for the background Prussian blue and the letters "Bellona" on the stern, I needed a way to get things sharper and more even in tone. So, I turned to my airbrush. I masked everything but the counter and sprayed away.
 
 

I glued artist's frisk onto a print of the upper counter letters and frieze elements (a woman riding a sea monster, a man riding a galloping horse). I could then turn the frisk/print every which way on my light table, and very carefully cut the frisk with a scalpel. I then attached the frisk and sprayed everything that would be the yellow ochre base for all of the frieze work:
 

I then used white graphite transfer paper to trace the rest of the pattern onto the surfaces:
 

Then following David's advice of painting highlights and shadows on the basic forms, I eventually got to an imperfect copy of the original Bellona model:
 

I learned to admire those original model builders for their painting skill. Try as I might, I just could not get to the same level of skill. But as good as I can do! So, moving on to actually gluing together the stern!
 
I did learn a few good things that I will pass on for anyone else attempting these kinds of friezes.
 
First, after trying a number of airbrush and hand paint brands, I settled on Golden. They have the same colors in different densities, for airbrushing and hand painting; the colors match the historic colors I was looking for; they come in plastic bottles with ball bearing inside, for mixing. They spray without problems through my airbrush. And they are highly regarded in the artist community.
 
Second, I struggled with the acrylic paint drying too quickly on the palette when I was trying to mix colors. My son introduced me to the model gamers' favorite tool, the Army Painter Wet Palette. This tray holds a water saturated pad, upon which is placed a parchment sheet. Paint mixed on top of the parchment can stay wet and mixable for as long as 48 hours. A huge help!
 
A glass of wine tonight in celebration, and on to assembling the stern!
 
Mark
 
 

 
 
 

Hi everyone,
 
Sorry for the long silence; other things going on!
 
To catch up. First, Der Boss, thank you for your kind comments. Slow and careful keeps me moving along!
 
Trevor, thanks for the reference to Roberts. I haven't seen that, but I do have the facsimile book and set of plates for Steel's Naval Architecture. I have used that to help with several questions of drafting, but could find nothing on the curved surface between the upper deck and quarter deck windows on the quarter galleries.
 
And Gary, good to hear from you! We old timers go back a long way on our 74s!
 
And druxey, thank you for your list of tools and materials you used. I did a little test fret-sawing boxwood, and if I find myself going down the route of fret sawing, I have determined that wood is too crude for the very thin cross grain pieces (see below). I can see plastic would be a much better material, no grain to deal with.

And once I saw that plastic might be the right material, I mocked up the curved surface in basswood to see just how sharp the compound curves would be. This would be to test whether glue would be enough to hold flat plastic against the curved surface.
 
And the surface turned out to be less curved than I thought. The front edge sweeps back at a good angle, but at any line drawn between the upper and lower moldings, the surface curve is gentle.
 
So for now, I will explore having these laser cut. I first need to reinstall everything with the final windows (coming from Chuck, thanks so much!), and then carve the final curved surface to measure and expand for a true elevation of the fretwork.
 
Mark
 

 
 
 
 

HI everyone,
A long time since my last post. I realized that I was getting to far ahead of myself, building up the stern with everything just pinned. I needed first to paint the lower and upper counters before I could actually start assembling things.
 
And learning how to paint the friezes was a major learning curve!
 
I greatly followed David Antscherl's advice on painting in the Fully Frame Model, vol. II section 7.26. It was exceptionally helpful for everything from paint and brushes to technique.
 
Alas, I discovered after a great deal of experimentation that hand painting alone did not work well for me. Particularly for the background Prussian blue and the letters "Bellona" on the stern, I needed a way to get things sharper and more even in tone. So, I turned to my airbrush. I masked everything but the counter and sprayed away.
 
 

I glued artist's frisk onto a print of the upper counter letters and frieze elements (a woman riding a sea monster, a man riding a galloping horse). I could then turn the frisk/print every which way on my light table, and very carefully cut the frisk with a scalpel. I then attached the frisk and sprayed everything that would be the yellow ochre base for all of the frieze work:
 

I then used white graphite transfer paper to trace the rest of the pattern onto the surfaces:
 

Then following David's advice of painting highlights and shadows on the basic forms, I eventually got to an imperfect copy of the original Bellona model:
 

I learned to admire those original model builders for their painting skill. Try as I might, I just could not get to the same level of skill. But as good as I can do! So, moving on to actually gluing together the stern!
 
I did learn a few good things that I will pass on for anyone else attempting these kinds of friezes.
 
First, after trying a number of airbrush and hand paint brands, I settled on Golden. They have the same colors in different densities, for airbrushing and hand painting; the colors match the historic colors I was looking for; they come in plastic bottles with ball bearing inside, for mixing. They spray without problems through my airbrush. And they are highly regarded in the artist community.
 
Second, I struggled with the acrylic paint drying too quickly on the palette when I was trying to mix colors. My son introduced me to the model gamers' favorite tool, the Army Painter Wet Palette. This tray holds a water saturated pad, upon which is placed a parchment sheet. Paint mixed on top of the parchment can stay wet and mixable for as long as 48 hours. A huge help!
 
A glass of wine tonight in celebration, and on to assembling the stern!
 
Mark
 
 

 
 
 

HI everyone,
A long time since my last post. I realized that I was getting to far ahead of myself, building up the stern with everything just pinned. I needed first to paint the lower and upper counters before I could actually start assembling things.
 
And learning how to paint the friezes was a major learning curve!
 
I greatly followed David Antscherl's advice on painting in the Fully Frame Model, vol. II section 7.26. It was exceptionally helpful for everything from paint and brushes to technique.
 
Alas, I discovered after a great deal of experimentation that hand painting alone did not work well for me. Particularly for the background Prussian blue and the letters "Bellona" on the stern, I needed a way to get things sharper and more even in tone. So, I turned to my airbrush. I masked everything but the counter and sprayed away.
 
 

I glued artist's frisk onto a print of the upper counter letters and frieze elements (a woman riding a sea monster, a man riding a galloping horse). I could then turn the frisk/print every which way on my light table, and very carefully cut the frisk with a scalpel. I then attached the frisk and sprayed everything that would be the yellow ochre base for all of the frieze work:
 

I then used white graphite transfer paper to trace the rest of the pattern onto the surfaces:
 

Then following David's advice of painting highlights and shadows on the basic forms, I eventually got to an imperfect copy of the original Bellona model:
 

I learned to admire those original model builders for their painting skill. Try as I might, I just could not get to the same level of skill. But as good as I can do! So, moving on to actually gluing together the stern!
 
I did learn a few good things that I will pass on for anyone else attempting these kinds of friezes.
 
First, after trying a number of airbrush and hand paint brands, I settled on Golden. They have the same colors in different densities, for airbrushing and hand painting; the colors match the historic colors I was looking for; they come in plastic bottles with ball bearing inside, for mixing. They spray without problems through my airbrush. And they are highly regarded in the artist community.
 
Second, I struggled with the acrylic paint drying too quickly on the palette when I was trying to mix colors. My son introduced me to the model gamers' favorite tool, the Army Painter Wet Palette. This tray holds a water saturated pad, upon which is placed a parchment sheet. Paint mixed on top of the parchment can stay wet and mixable for as long as 48 hours. A huge help!
 
A glass of wine tonight in celebration, and on to assembling the stern!
 
Mark
 
 

 
 
 

HI everyone,
A long time since my last post. I realized that I was getting to far ahead of myself, building up the stern with everything just pinned. I needed first to paint the lower and upper counters before I could actually start assembling things.
 
And learning how to paint the friezes was a major learning curve!
 
I greatly followed David Antscherl's advice on painting in the Fully Frame Model, vol. II section 7.26. It was exceptionally helpful for everything from paint and brushes to technique.
 
Alas, I discovered after a great deal of experimentation that hand painting alone did not work well for me. Particularly for the background Prussian blue and the letters "Bellona" on the stern, I needed a way to get things sharper and more even in tone. So, I turned to my airbrush. I masked everything but the counter and sprayed away.
 
 

I glued artist's frisk onto a print of the upper counter letters and frieze elements (a woman riding a sea monster, a man riding a galloping horse). I could then turn the frisk/print every which way on my light table, and very carefully cut the frisk with a scalpel. I then attached the frisk and sprayed everything that would be the yellow ochre base for all of the frieze work:
 

I then used white graphite transfer paper to trace the rest of the pattern onto the surfaces:
 

Then following David's advice of painting highlights and shadows on the basic forms, I eventually got to an imperfect copy of the original Bellona model:
 

I learned to admire those original model builders for their painting skill. Try as I might, I just could not get to the same level of skill. But as good as I can do! So, moving on to actually gluing together the stern!
 
I did learn a few good things that I will pass on for anyone else attempting these kinds of friezes.
 
First, after trying a number of airbrush and hand paint brands, I settled on Golden. They have the same colors in different densities, for airbrushing and hand painting; the colors match the historic colors I was looking for; they come in plastic bottles with ball bearing inside, for mixing. They spray without problems through my airbrush. And they are highly regarded in the artist community.
 
Second, I struggled with the acrylic paint drying too quickly on the palette when I was trying to mix colors. My son introduced me to the model gamers' favorite tool, the Army Painter Wet Palette. This tray holds a water saturated pad, upon which is placed a parchment sheet. Paint mixed on top of the parchment can stay wet and mixable for as long as 48 hours. A huge help!
 
A glass of wine tonight in celebration, and on to assembling the stern!
 
Mark
 
 

 
 
 

Thanks so much, everyone. This was a major hurdle for me, thinking about it for many years, and now able to move forward.
 
A couple more thoughts, for those working on paintings like this.
 
1. Using frisk to lay down the base yellow ochre actually accomplished a couple of things. Not only did it allow a smooth application of airbrush paint, but it also solved part of the problem of getting the design transferred to the hull. Because the frisk is based on an accurate drawing, there is no need to worry about sketching in the design on the model itself, trying to keep faithful to proportions and sizes. It is as accurate as the drawing used to cut the frisk.
 
2. To get an accurate underlying drawing, I scanned photos of the painting on the original Bellona model, and imported them into my CAD software (HighDesign 9 for Mac). I then resized them to approximately the correct sizes and printed them. When I cut out each print and laid it onto the hull, I could see where the shape needed to be adjusted for more or less curve, a little wider or narrower. I would then make these adjustments to the CAD drawing, print again, adjust and so on until the CAD drawing was an accurate fit. Then I knew the frisk would fit well in its assigned space.
 
3. Regarding airbrush paint, I also started with Vallejo, which is highly regarded by many modelers online. But I also had problems with these clogging my airbrush (Harder and Steenbeck Evolution). Although I tried a number of suggestions for thinners seen on YouTube videos, nothing seemed to work reliably for me. It may be that I did not work out a good way of mixing the paint and thinner, or it may be that spraying on wood rather than plastic makes a difference. Golden High Flow paints worked without thinning, which does allow for a greater consistency in what is going to happen when you pull the trigger. And they match the Golden Fluid acrylics for hand painting.
 
4. As David Antscherl pointed out in his section on painting in the Fully Framed Model, the base layer of yellow ochre is a translucent paint, not opaque. So when spraying or hand brushing yellow over Prussian blue, the resulting color goes green. David's advice of mixing some white into the yellow ochre for hand brushing helps, while a number of layers of airbrushed yellow ochre eventually goes opaque. They dry so quickly that it is possible to get an opaque finish in one session of airbrushing.
 
I look back and wonder why it took me so long to work out this painting business; and now I remember the many experiments, dead ends, different products....
 
Mark
 

HI everyone,
A long time since my last post. I realized that I was getting to far ahead of myself, building up the stern with everything just pinned. I needed first to paint the lower and upper counters before I could actually start assembling things.
 
And learning how to paint the friezes was a major learning curve!
 
I greatly followed David Antscherl's advice on painting in the Fully Frame Model, vol. II section 7.26. It was exceptionally helpful for everything from paint and brushes to technique.
 
Alas, I discovered after a great deal of experimentation that hand painting alone did not work well for me. Particularly for the background Prussian blue and the letters "Bellona" on the stern, I needed a way to get things sharper and more even in tone. So, I turned to my airbrush. I masked everything but the counter and sprayed away.
 
 

I glued artist's frisk onto a print of the upper counter letters and frieze elements (a woman riding a sea monster, a man riding a galloping horse). I could then turn the frisk/print every which way on my light table, and very carefully cut the frisk with a scalpel. I then attached the frisk and sprayed everything that would be the yellow ochre base for all of the frieze work:
 

I then used white graphite transfer paper to trace the rest of the pattern onto the surfaces:
 

Then following David's advice of painting highlights and shadows on the basic forms, I eventually got to an imperfect copy of the original Bellona model:
 

I learned to admire those original model builders for their painting skill. Try as I might, I just could not get to the same level of skill. But as good as I can do! So, moving on to actually gluing together the stern!
 
I did learn a few good things that I will pass on for anyone else attempting these kinds of friezes.
 
First, after trying a number of airbrush and hand paint brands, I settled on Golden. They have the same colors in different densities, for airbrushing and hand painting; the colors match the historic colors I was looking for; they come in plastic bottles with ball bearing inside, for mixing. They spray without problems through my airbrush. And they are highly regarded in the artist community.
 
Second, I struggled with the acrylic paint drying too quickly on the palette when I was trying to mix colors. My son introduced me to the model gamers' favorite tool, the Army Painter Wet Palette. This tray holds a water saturated pad, upon which is placed a parchment sheet. Paint mixed on top of the parchment can stay wet and mixable for as long as 48 hours. A huge help!
 
A glass of wine tonight in celebration, and on to assembling the stern!
 
Mark
 
 

 
 
 

HI everyone,
A long time since my last post. I realized that I was getting to far ahead of myself, building up the stern with everything just pinned. I needed first to paint the lower and upper counters before I could actually start assembling things.
 
And learning how to paint the friezes was a major learning curve!
 
I greatly followed David Antscherl's advice on painting in the Fully Frame Model, vol. II section 7.26. It was exceptionally helpful for everything from paint and brushes to technique.
 
Alas, I discovered after a great deal of experimentation that hand painting alone did not work well for me. Particularly for the background Prussian blue and the letters "Bellona" on the stern, I needed a way to get things sharper and more even in tone. So, I turned to my airbrush. I masked everything but the counter and sprayed away.
 
 

I glued artist's frisk onto a print of the upper counter letters and frieze elements (a woman riding a sea monster, a man riding a galloping horse). I could then turn the frisk/print every which way on my light table, and very carefully cut the frisk with a scalpel. I then attached the frisk and sprayed everything that would be the yellow ochre base for all of the frieze work:
 

I then used white graphite transfer paper to trace the rest of the pattern onto the surfaces:
 

Then following David's advice of painting highlights and shadows on the basic forms, I eventually got to an imperfect copy of the original Bellona model:
 

I learned to admire those original model builders for their painting skill. Try as I might, I just could not get to the same level of skill. But as good as I can do! So, moving on to actually gluing together the stern!
 
I did learn a few good things that I will pass on for anyone else attempting these kinds of friezes.
 
First, after trying a number of airbrush and hand paint brands, I settled on Golden. They have the same colors in different densities, for airbrushing and hand painting; the colors match the historic colors I was looking for; they come in plastic bottles with ball bearing inside, for mixing. They spray without problems through my airbrush. And they are highly regarded in the artist community.
 
Second, I struggled with the acrylic paint drying too quickly on the palette when I was trying to mix colors. My son introduced me to the model gamers' favorite tool, the Army Painter Wet Palette. This tray holds a water saturated pad, upon which is placed a parchment sheet. Paint mixed on top of the parchment can stay wet and mixable for as long as 48 hours. A huge help!
 
A glass of wine tonight in celebration, and on to assembling the stern!
 
Mark
 
 

 
 
 

Thanks so much, everyone. This was a major hurdle for me, thinking about it for many years, and now able to move forward.
 
A couple more thoughts, for those working on paintings like this.
 
1. Using frisk to lay down the base yellow ochre actually accomplished a couple of things. Not only did it allow a smooth application of airbrush paint, but it also solved part of the problem of getting the design transferred to the hull. Because the frisk is based on an accurate drawing, there is no need to worry about sketching in the design on the model itself, trying to keep faithful to proportions and sizes. It is as accurate as the drawing used to cut the frisk.
 
2. To get an accurate underlying drawing, I scanned photos of the painting on the original Bellona model, and imported them into my CAD software (HighDesign 9 for Mac). I then resized them to approximately the correct sizes and printed them. When I cut out each print and laid it onto the hull, I could see where the shape needed to be adjusted for more or less curve, a little wider or narrower. I would then make these adjustments to the CAD drawing, print again, adjust and so on until the CAD drawing was an accurate fit. Then I knew the frisk would fit well in its assigned space.
 
3. Regarding airbrush paint, I also started with Vallejo, which is highly regarded by many modelers online. But I also had problems with these clogging my airbrush (Harder and Steenbeck Evolution). Although I tried a number of suggestions for thinners seen on YouTube videos, nothing seemed to work reliably for me. It may be that I did not work out a good way of mixing the paint and thinner, or it may be that spraying on wood rather than plastic makes a difference. Golden High Flow paints worked without thinning, which does allow for a greater consistency in what is going to happen when you pull the trigger. And they match the Golden Fluid acrylics for hand painting.
 
4. As David Antscherl pointed out in his section on painting in the Fully Framed Model, the base layer of yellow ochre is a translucent paint, not opaque. So when spraying or hand brushing yellow over Prussian blue, the resulting color goes green. David's advice of mixing some white into the yellow ochre for hand brushing helps, while a number of layers of airbrushed yellow ochre eventually goes opaque. They dry so quickly that it is possible to get an opaque finish in one session of airbrushing.
 
I look back and wonder why it took me so long to work out this painting business; and now I remember the many experiments, dead ends, different products....
 
Mark
 

HI everyone,
A long time since my last post. I realized that I was getting to far ahead of myself, building up the stern with everything just pinned. I needed first to paint the lower and upper counters before I could actually start assembling things.
 
And learning how to paint the friezes was a major learning curve!
 
I greatly followed David Antscherl's advice on painting in the Fully Frame Model, vol. II section 7.26. It was exceptionally helpful for everything from paint and brushes to technique.
 
Alas, I discovered after a great deal of experimentation that hand painting alone did not work well for me. Particularly for the background Prussian blue and the letters "Bellona" on the stern, I needed a way to get things sharper and more even in tone. So, I turned to my airbrush. I masked everything but the counter and sprayed away.
 
 

I glued artist's frisk onto a print of the upper counter letters and frieze elements (a woman riding a sea monster, a man riding a galloping horse). I could then turn the frisk/print every which way on my light table, and very carefully cut the frisk with a scalpel. I then attached the frisk and sprayed everything that would be the yellow ochre base for all of the frieze work:
 

I then used white graphite transfer paper to trace the rest of the pattern onto the surfaces:
 

Then following David's advice of painting highlights and shadows on the basic forms, I eventually got to an imperfect copy of the original Bellona model:
 

I learned to admire those original model builders for their painting skill. Try as I might, I just could not get to the same level of skill. But as good as I can do! So, moving on to actually gluing together the stern!
 
I did learn a few good things that I will pass on for anyone else attempting these kinds of friezes.
 
First, after trying a number of airbrush and hand paint brands, I settled on Golden. They have the same colors in different densities, for airbrushing and hand painting; the colors match the historic colors I was looking for; they come in plastic bottles with ball bearing inside, for mixing. They spray without problems through my airbrush. And they are highly regarded in the artist community.
 
Second, I struggled with the acrylic paint drying too quickly on the palette when I was trying to mix colors. My son introduced me to the model gamers' favorite tool, the Army Painter Wet Palette. This tray holds a water saturated pad, upon which is placed a parchment sheet. Paint mixed on top of the parchment can stay wet and mixable for as long as 48 hours. A huge help!
 
A glass of wine tonight in celebration, and on to assembling the stern!
 
Mark
 
 

 
 
 

It has been a long time since I last posted. This stern structure is undoubtedly the most complex and difficult thing I have ever attempted to build. But I am making progress.
I had to use the horizontal moulding between the lower and upper counters, and also between the upper counter and the window sills, as templates for determining the curve and width of the quarter galleries. So these were left unmoulded for a time--and therefore a little stiffer--in order to keep everyone in alignment. Here I am confirming the window layout. the window frames will obviously require some leveling when they are finally installed:

And here is a template to see how it is all going to line up:

Next, the officer toilets are constructed. Working from a cryptic plan drawing in the original admiralty draughts, and a photo of Victory's quarter gallery, I decided that these were likely just holes in a bench with a chamber pot underneath, retrieved by a hinged top to the bench. Fun work for the officer servants to clean up every day. I wonder where they dumped these overboard--at the head, perhaps?
 

And then the mouldings are given their profile, and glued in place at last!


Next to come, planking the upper counter and the veneer of planking on the quarter galleries, druxey's great suggestion. I don't know how I would ever have formed these pieces without carving them from a whole piece. Curves in too many directions!
 
 
 

HI everyone,
A long time since my last post. I realized that I was getting to far ahead of myself, building up the stern with everything just pinned. I needed first to paint the lower and upper counters before I could actually start assembling things.
 
And learning how to paint the friezes was a major learning curve!
 
I greatly followed David Antscherl's advice on painting in the Fully Frame Model, vol. II section 7.26. It was exceptionally helpful for everything from paint and brushes to technique.
 
Alas, I discovered after a great deal of experimentation that hand painting alone did not work well for me. Particularly for the background Prussian blue and the letters "Bellona" on the stern, I needed a way to get things sharper and more even in tone. So, I turned to my airbrush. I masked everything but the counter and sprayed away.
 
 

I glued artist's frisk onto a print of the upper counter letters and frieze elements (a woman riding a sea monster, a man riding a galloping horse). I could then turn the frisk/print every which way on my light table, and very carefully cut the frisk with a scalpel. I then attached the frisk and sprayed everything that would be the yellow ochre base for all of the frieze work:
 

I then used white graphite transfer paper to trace the rest of the pattern onto the surfaces:
 

Then following David's advice of painting highlights and shadows on the basic forms, I eventually got to an imperfect copy of the original Bellona model:
 

I learned to admire those original model builders for their painting skill. Try as I might, I just could not get to the same level of skill. But as good as I can do! So, moving on to actually gluing together the stern!
 
I did learn a few good things that I will pass on for anyone else attempting these kinds of friezes.
 
First, after trying a number of airbrush and hand paint brands, I settled on Golden. They have the same colors in different densities, for airbrushing and hand painting; the colors match the historic colors I was looking for; they come in plastic bottles with ball bearing inside, for mixing. They spray without problems through my airbrush. And they are highly regarded in the artist community.
 
Second, I struggled with the acrylic paint drying too quickly on the palette when I was trying to mix colors. My son introduced me to the model gamers' favorite tool, the Army Painter Wet Palette. This tray holds a water saturated pad, upon which is placed a parchment sheet. Paint mixed on top of the parchment can stay wet and mixable for as long as 48 hours. A huge help!
 
A glass of wine tonight in celebration, and on to assembling the stern!
 
Mark
 
 

 
 
 

HI everyone,
A long time since my last post. I realized that I was getting to far ahead of myself, building up the stern with everything just pinned. I needed first to paint the lower and upper counters before I could actually start assembling things.
 
And learning how to paint the friezes was a major learning curve!
 
I greatly followed David Antscherl's advice on painting in the Fully Frame Model, vol. II section 7.26. It was exceptionally helpful for everything from paint and brushes to technique.
 
Alas, I discovered after a great deal of experimentation that hand painting alone did not work well for me. Particularly for the background Prussian blue and the letters "Bellona" on the stern, I needed a way to get things sharper and more even in tone. So, I turned to my airbrush. I masked everything but the counter and sprayed away.
 
 

I glued artist's frisk onto a print of the upper counter letters and frieze elements (a woman riding a sea monster, a man riding a galloping horse). I could then turn the frisk/print every which way on my light table, and very carefully cut the frisk with a scalpel. I then attached the frisk and sprayed everything that would be the yellow ochre base for all of the frieze work:
 

I then used white graphite transfer paper to trace the rest of the pattern onto the surfaces:
 

Then following David's advice of painting highlights and shadows on the basic forms, I eventually got to an imperfect copy of the original Bellona model:
 

I learned to admire those original model builders for their painting skill. Try as I might, I just could not get to the same level of skill. But as good as I can do! So, moving on to actually gluing together the stern!
 
I did learn a few good things that I will pass on for anyone else attempting these kinds of friezes.
 
First, after trying a number of airbrush and hand paint brands, I settled on Golden. They have the same colors in different densities, for airbrushing and hand painting; the colors match the historic colors I was looking for; they come in plastic bottles with ball bearing inside, for mixing. They spray without problems through my airbrush. And they are highly regarded in the artist community.
 
Second, I struggled with the acrylic paint drying too quickly on the palette when I was trying to mix colors. My son introduced me to the model gamers' favorite tool, the Army Painter Wet Palette. This tray holds a water saturated pad, upon which is placed a parchment sheet. Paint mixed on top of the parchment can stay wet and mixable for as long as 48 hours. A huge help!
 
A glass of wine tonight in celebration, and on to assembling the stern!
 
Mark
 
 

 
 
 

HI everyone,
A long time since my last post. I realized that I was getting to far ahead of myself, building up the stern with everything just pinned. I needed first to paint the lower and upper counters before I could actually start assembling things.
 
And learning how to paint the friezes was a major learning curve!
 
I greatly followed David Antscherl's advice on painting in the Fully Frame Model, vol. II section 7.26. It was exceptionally helpful for everything from paint and brushes to technique.
 
Alas, I discovered after a great deal of experimentation that hand painting alone did not work well for me. Particularly for the background Prussian blue and the letters "Bellona" on the stern, I needed a way to get things sharper and more even in tone. So, I turned to my airbrush. I masked everything but the counter and sprayed away.
 
 

I glued artist's frisk onto a print of the upper counter letters and frieze elements (a woman riding a sea monster, a man riding a galloping horse). I could then turn the frisk/print every which way on my light table, and very carefully cut the frisk with a scalpel. I then attached the frisk and sprayed everything that would be the yellow ochre base for all of the frieze work:
 

I then used white graphite transfer paper to trace the rest of the pattern onto the surfaces:
 

Then following David's advice of painting highlights and shadows on the basic forms, I eventually got to an imperfect copy of the original Bellona model:
 

I learned to admire those original model builders for their painting skill. Try as I might, I just could not get to the same level of skill. But as good as I can do! So, moving on to actually gluing together the stern!
 
I did learn a few good things that I will pass on for anyone else attempting these kinds of friezes.
 
First, after trying a number of airbrush and hand paint brands, I settled on Golden. They have the same colors in different densities, for airbrushing and hand painting; the colors match the historic colors I was looking for; they come in plastic bottles with ball bearing inside, for mixing. They spray without problems through my airbrush. And they are highly regarded in the artist community.
 
Second, I struggled with the acrylic paint drying too quickly on the palette when I was trying to mix colors. My son introduced me to the model gamers' favorite tool, the Army Painter Wet Palette. This tray holds a water saturated pad, upon which is placed a parchment sheet. Paint mixed on top of the parchment can stay wet and mixable for as long as 48 hours. A huge help!
 
A glass of wine tonight in celebration, and on to assembling the stern!
 
Mark
 
 

 
 
 

HI everyone,
A long time since my last post. I realized that I was getting to far ahead of myself, building up the stern with everything just pinned. I needed first to paint the lower and upper counters before I could actually start assembling things.
 
And learning how to paint the friezes was a major learning curve!
 
I greatly followed David Antscherl's advice on painting in the Fully Frame Model, vol. II section 7.26. It was exceptionally helpful for everything from paint and brushes to technique.
 
Alas, I discovered after a great deal of experimentation that hand painting alone did not work well for me. Particularly for the background Prussian blue and the letters "Bellona" on the stern, I needed a way to get things sharper and more even in tone. So, I turned to my airbrush. I masked everything but the counter and sprayed away.
 
 

I glued artist's frisk onto a print of the upper counter letters and frieze elements (a woman riding a sea monster, a man riding a galloping horse). I could then turn the frisk/print every which way on my light table, and very carefully cut the frisk with a scalpel. I then attached the frisk and sprayed everything that would be the yellow ochre base for all of the frieze work:
 

I then used white graphite transfer paper to trace the rest of the pattern onto the surfaces:
 

Then following David's advice of painting highlights and shadows on the basic forms, I eventually got to an imperfect copy of the original Bellona model:
 

I learned to admire those original model builders for their painting skill. Try as I might, I just could not get to the same level of skill. But as good as I can do! So, moving on to actually gluing together the stern!
 
I did learn a few good things that I will pass on for anyone else attempting these kinds of friezes.
 
First, after trying a number of airbrush and hand paint brands, I settled on Golden. They have the same colors in different densities, for airbrushing and hand painting; the colors match the historic colors I was looking for; they come in plastic bottles with ball bearing inside, for mixing. They spray without problems through my airbrush. And they are highly regarded in the artist community.
 
Second, I struggled with the acrylic paint drying too quickly on the palette when I was trying to mix colors. My son introduced me to the model gamers' favorite tool, the Army Painter Wet Palette. This tray holds a water saturated pad, upon which is placed a parchment sheet. Paint mixed on top of the parchment can stay wet and mixable for as long as 48 hours. A huge help!
 
A glass of wine tonight in celebration, and on to assembling the stern!
 
Mark
 
 

 
 
 

Thanks so much, everyone. This was a major hurdle for me, thinking about it for many years, and now able to move forward.
 
A couple more thoughts, for those working on paintings like this.
 
1. Using frisk to lay down the base yellow ochre actually accomplished a couple of things. Not only did it allow a smooth application of airbrush paint, but it also solved part of the problem of getting the design transferred to the hull. Because the frisk is based on an accurate drawing, there is no need to worry about sketching in the design on the model itself, trying to keep faithful to proportions and sizes. It is as accurate as the drawing used to cut the frisk.
 
2. To get an accurate underlying drawing, I scanned photos of the painting on the original Bellona model, and imported them into my CAD software (HighDesign 9 for Mac). I then resized them to approximately the correct sizes and printed them. When I cut out each print and laid it onto the hull, I could see where the shape needed to be adjusted for more or less curve, a little wider or narrower. I would then make these adjustments to the CAD drawing, print again, adjust and so on until the CAD drawing was an accurate fit. Then I knew the frisk would fit well in its assigned space.
 
3. Regarding airbrush paint, I also started with Vallejo, which is highly regarded by many modelers online. But I also had problems with these clogging my airbrush (Harder and Steenbeck Evolution). Although I tried a number of suggestions for thinners seen on YouTube videos, nothing seemed to work reliably for me. It may be that I did not work out a good way of mixing the paint and thinner, or it may be that spraying on wood rather than plastic makes a difference. Golden High Flow paints worked without thinning, which does allow for a greater consistency in what is going to happen when you pull the trigger. And they match the Golden Fluid acrylics for hand painting.
 
4. As David Antscherl pointed out in his section on painting in the Fully Framed Model, the base layer of yellow ochre is a translucent paint, not opaque. So when spraying or hand brushing yellow over Prussian blue, the resulting color goes green. David's advice of mixing some white into the yellow ochre for hand brushing helps, while a number of layers of airbrushed yellow ochre eventually goes opaque. They dry so quickly that it is possible to get an opaque finish in one session of airbrushing.
 
I look back and wonder why it took me so long to work out this painting business; and now I remember the many experiments, dead ends, different products....
 
Mark
 

HI everyone,
A long time since my last post. I realized that I was getting to far ahead of myself, building up the stern with everything just pinned. I needed first to paint the lower and upper counters before I could actually start assembling things.
 
And learning how to paint the friezes was a major learning curve!
 
I greatly followed David Antscherl's advice on painting in the Fully Frame Model, vol. II section 7.26. It was exceptionally helpful for everything from paint and brushes to technique.
 
Alas, I discovered after a great deal of experimentation that hand painting alone did not work well for me. Particularly for the background Prussian blue and the letters "Bellona" on the stern, I needed a way to get things sharper and more even in tone. So, I turned to my airbrush. I masked everything but the counter and sprayed away.
 
 

I glued artist's frisk onto a print of the upper counter letters and frieze elements (a woman riding a sea monster, a man riding a galloping horse). I could then turn the frisk/print every which way on my light table, and very carefully cut the frisk with a scalpel. I then attached the frisk and sprayed everything that would be the yellow ochre base for all of the frieze work:
 

I then used white graphite transfer paper to trace the rest of the pattern onto the surfaces:
 

Then following David's advice of painting highlights and shadows on the basic forms, I eventually got to an imperfect copy of the original Bellona model:
 

I learned to admire those original model builders for their painting skill. Try as I might, I just could not get to the same level of skill. But as good as I can do! So, moving on to actually gluing together the stern!
 
I did learn a few good things that I will pass on for anyone else attempting these kinds of friezes.
 
First, after trying a number of airbrush and hand paint brands, I settled on Golden. They have the same colors in different densities, for airbrushing and hand painting; the colors match the historic colors I was looking for; they come in plastic bottles with ball bearing inside, for mixing. They spray without problems through my airbrush. And they are highly regarded in the artist community.
 
Second, I struggled with the acrylic paint drying too quickly on the palette when I was trying to mix colors. My son introduced me to the model gamers' favorite tool, the Army Painter Wet Palette. This tray holds a water saturated pad, upon which is placed a parchment sheet. Paint mixed on top of the parchment can stay wet and mixable for as long as 48 hours. A huge help!
 
A glass of wine tonight in celebration, and on to assembling the stern!
 
Mark
 
 

 
 
 

HI everyone,
A long time since my last post. I realized that I was getting to far ahead of myself, building up the stern with everything just pinned. I needed first to paint the lower and upper counters before I could actually start assembling things.
 
And learning how to paint the friezes was a major learning curve!
 
I greatly followed David Antscherl's advice on painting in the Fully Frame Model, vol. II section 7.26. It was exceptionally helpful for everything from paint and brushes to technique.
 
Alas, I discovered after a great deal of experimentation that hand painting alone did not work well for me. Particularly for the background Prussian blue and the letters "Bellona" on the stern, I needed a way to get things sharper and more even in tone. So, I turned to my airbrush. I masked everything but the counter and sprayed away.
 
 

I glued artist's frisk onto a print of the upper counter letters and frieze elements (a woman riding a sea monster, a man riding a galloping horse). I could then turn the frisk/print every which way on my light table, and very carefully cut the frisk with a scalpel. I then attached the frisk and sprayed everything that would be the yellow ochre base for all of the frieze work:
 

I then used white graphite transfer paper to trace the rest of the pattern onto the surfaces:
 

Then following David's advice of painting highlights and shadows on the basic forms, I eventually got to an imperfect copy of the original Bellona model:
 

I learned to admire those original model builders for their painting skill. Try as I might, I just could not get to the same level of skill. But as good as I can do! So, moving on to actually gluing together the stern!
 
I did learn a few good things that I will pass on for anyone else attempting these kinds of friezes.
 
First, after trying a number of airbrush and hand paint brands, I settled on Golden. They have the same colors in different densities, for airbrushing and hand painting; the colors match the historic colors I was looking for; they come in plastic bottles with ball bearing inside, for mixing. They spray without problems through my airbrush. And they are highly regarded in the artist community.
 
Second, I struggled with the acrylic paint drying too quickly on the palette when I was trying to mix colors. My son introduced me to the model gamers' favorite tool, the Army Painter Wet Palette. This tray holds a water saturated pad, upon which is placed a parchment sheet. Paint mixed on top of the parchment can stay wet and mixable for as long as 48 hours. A huge help!
 
A glass of wine tonight in celebration, and on to assembling the stern!
 
Mark
 
 

 
 
 

Thanks so much, everyone. This was a major hurdle for me, thinking about it for many years, and now able to move forward.
 
A couple more thoughts, for those working on paintings like this.
 
1. Using frisk to lay down the base yellow ochre actually accomplished a couple of things. Not only did it allow a smooth application of airbrush paint, but it also solved part of the problem of getting the design transferred to the hull. Because the frisk is based on an accurate drawing, there is no need to worry about sketching in the design on the model itself, trying to keep faithful to proportions and sizes. It is as accurate as the drawing used to cut the frisk.
 
2. To get an accurate underlying drawing, I scanned photos of the painting on the original Bellona model, and imported them into my CAD software (HighDesign 9 for Mac). I then resized them to approximately the correct sizes and printed them. When I cut out each print and laid it onto the hull, I could see where the shape needed to be adjusted for more or less curve, a little wider or narrower. I would then make these adjustments to the CAD drawing, print again, adjust and so on until the CAD drawing was an accurate fit. Then I knew the frisk would fit well in its assigned space.
 
3. Regarding airbrush paint, I also started with Vallejo, which is highly regarded by many modelers online. But I also had problems with these clogging my airbrush (Harder and Steenbeck Evolution). Although I tried a number of suggestions for thinners seen on YouTube videos, nothing seemed to work reliably for me. It may be that I did not work out a good way of mixing the paint and thinner, or it may be that spraying on wood rather than plastic makes a difference. Golden High Flow paints worked without thinning, which does allow for a greater consistency in what is going to happen when you pull the trigger. And they match the Golden Fluid acrylics for hand painting.
 
4. As David Antscherl pointed out in his section on painting in the Fully Framed Model, the base layer of yellow ochre is a translucent paint, not opaque. So when spraying or hand brushing yellow over Prussian blue, the resulting color goes green. David's advice of mixing some white into the yellow ochre for hand brushing helps, while a number of layers of airbrushed yellow ochre eventually goes opaque. They dry so quickly that it is possible to get an opaque finish in one session of airbrushing.
 
I look back and wonder why it took me so long to work out this painting business; and now I remember the many experiments, dead ends, different products....
 
Mark
 

HI everyone,
A long time since my last post. I realized that I was getting to far ahead of myself, building up the stern with everything just pinned. I needed first to paint the lower and upper counters before I could actually start assembling things.
 
And learning how to paint the friezes was a major learning curve!
 
I greatly followed David Antscherl's advice on painting in the Fully Frame Model, vol. II section 7.26. It was exceptionally helpful for everything from paint and brushes to technique.
 
Alas, I discovered after a great deal of experimentation that hand painting alone did not work well for me. Particularly for the background Prussian blue and the letters "Bellona" on the stern, I needed a way to get things sharper and more even in tone. So, I turned to my airbrush. I masked everything but the counter and sprayed away.
 
 

I glued artist's frisk onto a print of the upper counter letters and frieze elements (a woman riding a sea monster, a man riding a galloping horse). I could then turn the frisk/print every which way on my light table, and very carefully cut the frisk with a scalpel. I then attached the frisk and sprayed everything that would be the yellow ochre base for all of the frieze work:
 

I then used white graphite transfer paper to trace the rest of the pattern onto the surfaces:
 

Then following David's advice of painting highlights and shadows on the basic forms, I eventually got to an imperfect copy of the original Bellona model:
 

I learned to admire those original model builders for their painting skill. Try as I might, I just could not get to the same level of skill. But as good as I can do! So, moving on to actually gluing together the stern!
 
I did learn a few good things that I will pass on for anyone else attempting these kinds of friezes.
 
First, after trying a number of airbrush and hand paint brands, I settled on Golden. They have the same colors in different densities, for airbrushing and hand painting; the colors match the historic colors I was looking for; they come in plastic bottles with ball bearing inside, for mixing. They spray without problems through my airbrush. And they are highly regarded in the artist community.
 
Second, I struggled with the acrylic paint drying too quickly on the palette when I was trying to mix colors. My son introduced me to the model gamers' favorite tool, the Army Painter Wet Palette. This tray holds a water saturated pad, upon which is placed a parchment sheet. Paint mixed on top of the parchment can stay wet and mixable for as long as 48 hours. A huge help!
 
A glass of wine tonight in celebration, and on to assembling the stern!
 
Mark
 
 

 
 
 

Thanks so much, everyone. This was a major hurdle for me, thinking about it for many years, and now able to move forward.
 
A couple more thoughts, for those working on paintings like this.
 
1. Using frisk to lay down the base yellow ochre actually accomplished a couple of things. Not only did it allow a smooth application of airbrush paint, but it also solved part of the problem of getting the design transferred to the hull. Because the frisk is based on an accurate drawing, there is no need to worry about sketching in the design on the model itself, trying to keep faithful to proportions and sizes. It is as accurate as the drawing used to cut the frisk.
 
2. To get an accurate underlying drawing, I scanned photos of the painting on the original Bellona model, and imported them into my CAD software (HighDesign 9 for Mac). I then resized them to approximately the correct sizes and printed them. When I cut out each print and laid it onto the hull, I could see where the shape needed to be adjusted for more or less curve, a little wider or narrower. I would then make these adjustments to the CAD drawing, print again, adjust and so on until the CAD drawing was an accurate fit. Then I knew the frisk would fit well in its assigned space.
 
3. Regarding airbrush paint, I also started with Vallejo, which is highly regarded by many modelers online. But I also had problems with these clogging my airbrush (Harder and Steenbeck Evolution). Although I tried a number of suggestions for thinners seen on YouTube videos, nothing seemed to work reliably for me. It may be that I did not work out a good way of mixing the paint and thinner, or it may be that spraying on wood rather than plastic makes a difference. Golden High Flow paints worked without thinning, which does allow for a greater consistency in what is going to happen when you pull the trigger. And they match the Golden Fluid acrylics for hand painting.
 
4. As David Antscherl pointed out in his section on painting in the Fully Framed Model, the base layer of yellow ochre is a translucent paint, not opaque. So when spraying or hand brushing yellow over Prussian blue, the resulting color goes green. David's advice of mixing some white into the yellow ochre for hand brushing helps, while a number of layers of airbrushed yellow ochre eventually goes opaque. They dry so quickly that it is possible to get an opaque finish in one session of airbrushing.
 
I look back and wonder why it took me so long to work out this painting business; and now I remember the many experiments, dead ends, different products....
 
Mark
 

Thanks so much, everyone. This was a major hurdle for me, thinking about it for many years, and now able to move forward.
 
A couple more thoughts, for those working on paintings like this.
 
1. Using frisk to lay down the base yellow ochre actually accomplished a couple of things. Not only did it allow a smooth application of airbrush paint, but it also solved part of the problem of getting the design transferred to the hull. Because the frisk is based on an accurate drawing, there is no need to worry about sketching in the design on the model itself, trying to keep faithful to proportions and sizes. It is as accurate as the drawing used to cut the frisk.
 
2. To get an accurate underlying drawing, I scanned photos of the painting on the original Bellona model, and imported them into my CAD software (HighDesign 9 for Mac). I then resized them to approximately the correct sizes and printed them. When I cut out each print and laid it onto the hull, I could see where the shape needed to be adjusted for more or less curve, a little wider or narrower. I would then make these adjustments to the CAD drawing, print again, adjust and so on until the CAD drawing was an accurate fit. Then I knew the frisk would fit well in its assigned space.
 
3. Regarding airbrush paint, I also started with Vallejo, which is highly regarded by many modelers online. But I also had problems with these clogging my airbrush (Harder and Steenbeck Evolution). Although I tried a number of suggestions for thinners seen on YouTube videos, nothing seemed to work reliably for me. It may be that I did not work out a good way of mixing the paint and thinner, or it may be that spraying on wood rather than plastic makes a difference. Golden High Flow paints worked without thinning, which does allow for a greater consistency in what is going to happen when you pull the trigger. And they match the Golden Fluid acrylics for hand painting.
 
4. As David Antscherl pointed out in his section on painting in the Fully Framed Model, the base layer of yellow ochre is a translucent paint, not opaque. So when spraying or hand brushing yellow over Prussian blue, the resulting color goes green. David's advice of mixing some white into the yellow ochre for hand brushing helps, while a number of layers of airbrushed yellow ochre eventually goes opaque. They dry so quickly that it is possible to get an opaque finish in one session of airbrushing.
 
I look back and wonder why it took me so long to work out this painting business; and now I remember the many experiments, dead ends, different products....
 
Mark
 

HI everyone,
A long time since my last post. I realized that I was getting to far ahead of myself, building up the stern with everything just pinned. I needed first to paint the lower and upper counters before I could actually start assembling things.
 
And learning how to paint the friezes was a major learning curve!
 
I greatly followed David Antscherl's advice on painting in the Fully Frame Model, vol. II section 7.26. It was exceptionally helpful for everything from paint and brushes to technique.
 
Alas, I discovered after a great deal of experimentation that hand painting alone did not work well for me. Particularly for the background Prussian blue and the letters "Bellona" on the stern, I needed a way to get things sharper and more even in tone. So, I turned to my airbrush. I masked everything but the counter and sprayed away.
 
 

I glued artist's frisk onto a print of the upper counter letters and frieze elements (a woman riding a sea monster, a man riding a galloping horse). I could then turn the frisk/print every which way on my light table, and very carefully cut the frisk with a scalpel. I then attached the frisk and sprayed everything that would be the yellow ochre base for all of the frieze work:
 

I then used white graphite transfer paper to trace the rest of the pattern onto the surfaces:
 

Then following David's advice of painting highlights and shadows on the basic forms, I eventually got to an imperfect copy of the original Bellona model:
 

I learned to admire those original model builders for their painting skill. Try as I might, I just could not get to the same level of skill. But as good as I can do! So, moving on to actually gluing together the stern!
 
I did learn a few good things that I will pass on for anyone else attempting these kinds of friezes.
 
First, after trying a number of airbrush and hand paint brands, I settled on Golden. They have the same colors in different densities, for airbrushing and hand painting; the colors match the historic colors I was looking for; they come in plastic bottles with ball bearing inside, for mixing. They spray without problems through my airbrush. And they are highly regarded in the artist community.
 
Second, I struggled with the acrylic paint drying too quickly on the palette when I was trying to mix colors. My son introduced me to the model gamers' favorite tool, the Army Painter Wet Palette. This tray holds a water saturated pad, upon which is placed a parchment sheet. Paint mixed on top of the parchment can stay wet and mixable for as long as 48 hours. A huge help!
 
A glass of wine tonight in celebration, and on to assembling the stern!
 
Mark