dvm27

Seriously, Doris? Broad arrow and proof marks on your cannons? I've never seen them on a model before. I believe you just gave Mark S. a heart attack. Truly you are a wonder!

We (Admiralty Models) will conduct a workshop on carving sometime this year (mid-year we think). We are open to conducting it on either side of the border but past logistics seem to indicate that the easiest venue is in Baltimore. Our expenses are the least there, hence we can keep the workshop fee at a reasonable level. Further details will be posted on MSW and our website www.admiraltymodels.com, soon.

Don’t forget that the three most impressive objects on Longridge’s Victory, the stern lanterns, were made by another craftsmen. Besides, if you’re truly emulating a Navy Board Model, most of these specialty items were farmed out to jewelers and other specialists so you’d be in good company.

Very nice job, Kevin. Rest assured I didn’t get the block correct on my first try either!

Small world, John. I didn’t recall your MSW connection when I visited the museum last week. That is a very fine model you’re building with only hand tools in plain view of the public!

Mark, as sure as I knew you were a gifted ship modeler at one of our earlier workshops I know that you will not only solve this problem but that is will look spectacular. On full sized barrels I have seen the cypher is sort of inset into the barrel, not really proud of it. A subtle suggestion may work better that an in-you-face crystal clear cypher. Just one more opinion to add to the many you’ve received.

That’s how I affixed mine Mark, using 5 minute epoxy. Slightly over-contour the cypher to conform to the barrel. It’s a bit dicey keeping everything neat and tidy while the epoxy is setting but a little seep out is easily cleaned with isopropyl.

Just curious Mark. If you sweated those cyphers and vents onto the masters wouldn’t they be incorporated into the casting?

I’ve never seen a rifled bore on a ship model before Valerie! Your work reminds me of the finest builders models made by shipping companies in the 1900’s.

Well, the Czechoslovakian fellow who provided our cannons turns them out in about 2 minutes per (not including drilling the trunion holes and muzzle bores). Such is the beauty of CNC. But perhaps he has a commercial setup. I do think the look of a cast cannon gives a more realistic impression than smooth brass. Your workshop view is magnificent!

Lovely run of carlings, Ben! Are you cutting them in place or off the model?

Brilliant, Mark! Just curious if you ever thought about adding the CNC package to your lathe and letting the program do all the work for you? Now that you've mastered Fusion 360 imagine what you do with the mill and lathe.

Yikes, thats a detail that was made for photoetching!

As EG has stated there is a Russian who is producing micro chisels in various sizes and profiles. They are by far the sharpest and best quality micro chisels I've come across and I highly recommend them. A set is pricey but it's likely the last set you'll ever need. His address is (or was) mihail.kirsanov@mail.ru

Looking forward to this build Albert. Hard to believe you're shelving Anson after all that work on the frames!

Good question Johann. Navy Board models (when rigged) used silk. Some of these models have survived to today with original rigging. Silk has been around for ages. There were questions about the effects of UV light on silk but a recent study does not seem to consider it is a major factor (see article below). Perhaps one of our ship readers here who have attended the ship model conservators conference in England could comment. On the Navy Board models in the Naval Academy Museum the silk rigging does have a lovely catenary. Does your silk line assume natural curves Joann? Preserving silk: Reassessing deterioration factors for historic silk artefacts N. LUXFORD1,2 , D. THICKETT2 AND P. WYETH1 1 Textile Conservation Centre, Park Avenue, Winchester SO23 8DL, UK 2 English Heritage, 1 Waterhouse Square, 138-142 Holborn, London, EC1N 2ST, UK nl1@soton.ac.uk Silk can be found in numerous examples of costume, flags and banners, tapestries, upholstery, etc., in collections worldwide. These objects are unique records, offering invaluable evidence of political, economic, and social histories. However, silk is susceptible to ageing, and the preservation of such artefacts is of significant concern. The deterioration of silk causes embrittlement of the textile leading to splits and tears, and eventually a powdery and very friable fabric. Interventive conservation treatments, to consolidate silks, may radically alter their appearance, dramatically affecting the way in which visitors see and interpret the objects. Alternative preventive conservation methods are being sought to improve the longevity of silks in cultural heritage collections, by optimising the display parameters. Light has long been considered the major cause of damage to silk objects, which has lead to lower light levels for displays. However, recent research on medieval tapestries casts doubt on this. Unfaded silks on the reverse were found to be in a similar deteriorated condition to the faded silks on the front. Other environmental factors are important, and circumstantial evidence implicates raised humidity (RH), although there has been little research on this factor. Here we report the results of preliminary experiments in which we have investigated the effects of RH, as well as light, on the deterioration of new silk; relative humidities were chosen to reflect a variety of typical display conditions. The temperature and RH dependent kinetics of silk ageing were determined, by assessing the changes in mechanical properties and silk fibroin molecular weight. Initial results confirm that light (with the UV component excluded) is not necessarily the critical factor causing damage to silk objects. This has implications for the collections management and display of historic silks, leading to a reassessment of the most appropriate environmental parameters for the preservation of silk objects. And, from another source: Silk has been with us for a long time. Records indicate that silk has been in production before 6803 BC. Silk is archival. There are examples of still brightly colored silk found in China from the third and fourth century BC. Silk was alsothe painting support of choice long before canvas or paper was ever used. Protecting Fine Art Silk Paintings Dirt - When the silk painting is steamed, the dyes are bound in the fiber. The painting is hand washable using a mild soap and can be ironed with high heat. Light - more specifically, UV light can fade the colors in a textile. The best way to protect a silk painting is to keep it out of direct sunlight. Framing the artwork under UV-protected glass such as museum glass can eliminate the impact of fading. Moisture - silk resists mildew and most other bacteria and fungi. Moisture and humidity can make the silk fiber brittle over time. So it is especially critical, if framing under glass, to make sure that there is air flow around the painting to reduce the possibility of moisture build up. __ Reference - You can find more information on the history or biochemistry of silk and silk painting in the book "Silk" by Mary Schoeser, Yale University Press, 2007

Ship builders always have a reason for everything. But could the reason for the eccentric bowsprit simply be to allow access to a central beakhead bulkhead door? In Doris's model the doors are offset so a central bowsprit heel would be possible if the bulkhead were framed differently. Curious!

I quite agree with your review Bob. If this was just a coffee table book it would be magnificent. But it is so much more. Grant's extraordinary knowledge of these ships and insights into their origin makes it a fascinating read also. I encourage everyone to provide a subtle hint to their significant other that this book is the ideal holiday gift. You won't be disappointed!

You are truly an artist, Doris. Just noticed those elegant scarph joints in the wales. Also love the work on your beakhead bulkhead. Will there be doors eventually to allow passage?

Doris had posted a video, long ago, of her sculpting the figurehead. It was her usual meticulous method of turning a blob of clay into a work of art by adding a bit of clay here and a bit there. I recall her spending several minutes fine tuning a leg and hoof that already looked perfect to me. No smoke and mirrors involved - just the same building up process she used for the smaller carvings.

Lovely work, Marsalv. Assembling them off the model in the jig you've created certainly simplifies the process somewhat.

Excellent work, Kevin. Now back to your Swan!

Five years, Ed? It seems like time flies by, especially as you get older. I admire your precision with a hand file. My father-in-law was a machinist and told me one of the skills new workers had to manage was achieving perfectly flat surfaces using only a file and both hands. I find that even after years of practice I still chamfer one edge or the other doing this freehand.

You know your're doing a great job when those carlings assume a sweet curve. Lovely work, Ben!

This is a fabulous book with impeccible writing and gorgeous photographs. It looks like a coffee table book but is so much more. I have texted Grant expressing our appreciation for his work and I know he himself is very pleased with the production of this volume.