dvm27

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
 

Hello dear friends,
thank you for your support and "likes", I am glad you enjoy my work.
Today I am bringing another tutorial how I use self-adhesive foils and achieve wooden-looking parts in interior of the ship. 
 
Here is the first step -  the wall is after impregnation covered by self adhesive foil with wooden-looking grain.
 
* cutting out places for gluing wooden beams -  the foil tapes have to be removed using a sharp knife

 
*And here are added wooden beams:
 

 
* the surface is over-sprayed with Tamiya TS-80 flat clear to achieve better adhesion of another layer of foils

 
* cutting foil strips using only Tamiya fine cutter and a ruler:

 
*sticking and cutting strips on the surface:

* here is the result before over-spraying - again clear flat TS-80/Tamiya

 
* and here after drying:

*and another layer of foil strips:

 
*again over-sprayed (TS-80) and heated:

 
The final result:

Kind regards and have a great time,
Doris
 
 

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
 

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
 

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
 

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
 

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
 

Here is a downloadable PDF full size of the rigging plan.  This is without sails for those who wish to rig it this way.  I have omitted the sizes of ropes and blocks as this will all be explained in the instructions.  Its a simple rig and this way those notations wont crowd the paths of the rigging on the plan sheet.
 
I am releasing as a download also because I know there may be folks who would prefer not to pay for a masting and rigging package especially after so few items are needed that you might already have.  I will do the same with the sail plan.  This will hopefully help those in other countries where the shipping would be ridiculous to send a plan sheet and mast material in a mailing tube.  But I will offer it of course for those who still want to buy all the parts in cedar and use my rigging blocks and rope which will be part of the rigging kit.  let me know if you have any questions about the rigging plan.  The mast blank is 20" long and will be expensive to ship internationally even though its very light.  
 
26ftlaunchsheetonehalfsheet3.pdf
 
 
 

I hope I live long enough to see your model finished, Albert!

Congratulations Albert;
 
I am very glad that you have taken on such a vessel. I have always felt that it is such a matter of regret that the original, beautiful decoration of the Victory was removed just before the battle of Trafalgar. Such a shame that the battle was not fought a few years earlier, because then all the visitors to Victory in Portsmouth would see and realise just how attractive these old-time ships were. 
 
I presume that you are aware of the scale carving of her figurehead at the NMM, and the model of her at launching, showing her (incorrectly) on the ways. (She was floated out from dry dock)
 
Anyway, I wish you the best of progress in all of the build, which I will follow with great interest.
 
All the best,
 
Mark P

Fairing done.  I cut the wales using card first (6 - 7 times trying to get it close), then sacrificial wood.  Photos all seem to show wales that are not as beefy as war ships or the Anchor Hoy.  Just a little over-sized planks (these are 3 1/4").  Once the wales are in, I'll do the garboard plank and then line out the planking.   Some where in the process, I'll get to the ceilings.  Lots of time looking at pictures and drawings from the period and after.


Maury

While waiting for glue to dry, I set up the jig for the two ladders on the boat.
Basically right out of Greg Herbert's TFFM Vol. 3.

The flat top sits on top of a spine to fit in the mill vise.  The sides will be cut to length later.
Maury

I was looking at a very smooth operating drill at my local Jewellery tool supplier, it was nice but outside my budget. What I liked was the positive lock and vibration free running of this tool. Evidently the local wood carvers really like this tool. I have never really liked my dremel flex shaft for hand work it just doesn't suit my way of working. so not wanting to give up the manager/owner of the store said to me "I Have and older version take it home and try it" What I like is it takes the 3/32 shaft drill bits and burs. and runs up to 30,000rpm. also it has a decent amount of torque. 
 
I wanted to be able to hold it securely in a fixture added to the mill drill.
First picture shows the basic block to hold the fixture and the method to stop it from rotating, I did not want to do any machining on the mill drill but just wanted to use what was already there for attaching to. the tab sticking off the side of the quill was for the original drill stop I squared up a bit of 1" square brass bar on the lathe and turned down a bit of 1/2 inch bar to locate within the slot where the #3 morse taper fits in it is helt in place with a threaded rod through the quill normally . This arrangement ensured that the 1 inch bar cannot rotate but is easy to fit or remove.
 

 

 

 
Next the holder for the mini drill was made from some 1 1/4" diameter brass round and sme 5/8" brass square bar.
 

 
this was attached to the 1" carrier bar with a couple of allen head cap screws
 
The 2 sections of round that the tool slips into were made independently so that they were a snug fit in the locations that were chosen Both of them were held together and flattened on one side to accept the 5/8 bar the 2 parts were slipped onto the tool then the bar was glued to them with ACC as a temporary measure in order to drill and tap the permanent fixing screws.
 

 
The tool slipped in and a 1/4 x 28 locking screw was all that was needed to secure it in place. Now I have the full scope of the mill table and up and down movement of the quill for precision milling at high speed which was not available before. 
so to test this i used a taper dovetail type cutter and cut a slot in some Castelo.  
 

 

 
Next I switched cutters for a micro slitting cutter
 

 

 
and so I can use it for drilling with the proper speed for the very fine drills and for micro milling on larger Items.
 

 
I am going to test it out on a few tasks and then decide whether to keep it. It uses a foot control pedal to turn it on and off.
 
Michael
   

Compartments for beds. Manufacturing and installation.

Hello after pausing the construction of the HMS ANSON 64-gun vessel, I open the shipyard for the construction of the first-class vessel HMS VICTORY 1765 following the drawings of the Greenwich NMM in 1/48 scale. A greeting

Thanks for the "Likes" and to  Ken for his comment.  I have completed the frames by following the instructions.  I sanded them with 600 grit flexible nail files.  I had to do very little sanding to get the frame tabs to fit into the slots on the build board.  I also had to do a little filing of the slots in the keel to get the frames to fit.

Once completed, I test fitted the keel assembly to the frames and everything fit perfectly with some minor adjustments.

 
Next up is to get the frames properly aligned and glue the keel to the frames.

Botteloef, opsteker

Young America - extreme clipper 1853
Part 315 – More Yard ironwork
 
So, except for a few parral straps and the unfortunate mizzen skysail yard, all the remaining yards are now made and fitted with their ironwork.  This post describes the final steps in completing those yards.
 
On the largest yards, the yardarm bands were fit over the arms then drilled for their eyebolts – usually two or three on each.  With the smaller yards, this drilling into the wood weakens the yard arm, so prefabricated bands with soldered-in eyebolts were made for these.  I believe I described some of the fabrication steps in earlier posts, but the first picture shows one of these being drilled.
 

The first two holes were drilled through, and fitted with a pin to help set the piece in the vise with the side holes horizontal - for drilling the third hole.  The copper tube used here was a very tight fit over the arm and was also filed around the outside to reduce its thickness.  The next picture shows two eyebolts set into a tube with solder paste applied.
 

After soldering, the bolt excess on the inside was removed out with an abrasive bit and a round file.  The tube was then set in the vise to saw off the band.
 

The band is held with pliers to prevent its flying or dropping to the floor when it is parted.  Searching for these small, dropped parts is a major annoyance.  A better method for this is to insert a length of wire into the tube above the saw blade when it is almost cut through to retain the loose piece.  The next, rather poor photo, shows one of the smallest of these bands fit to its yard.
 

This is a tight fit.  The sheave in this yard remains to be carved out.
 
The lower, upper topsail, and topgallant yards on the fore and main masts carry studdingsail booms for the top, topgallant and royal studdingsails, respectively.  In this final set of yards only the main topgallant required these.  The fabrication of the gear was described in an earlier post, but a few pictures of the work on the last of these is shown below.  In the first picture the strap that reinforces the yardarm is being filed out of a copper strip.
 

This is then bent to fit around the arm and the legs clipped to size.
 

The bands are then held entirely by tight-fitting rings pushed over the end of the yard.  The rings shown were cut from tube, then stretched with the small steel mandrel for a tight fit.  The next picture of an earlier yard shows the band assembly and the other boom gear.
 

The main topgallant yard with all it major ironwork is shown in the next picture.
 

At this stage the jackstay stanchions – 28 gauge twisted copper wire eyes – were pushed into the holes previously drilled in the yards.  The tightness of the fit in the .024" holes has proved sufficient, except on the small diameter yards where some additional holding power is needed.  To avoid interfering with blackening, no glue has been used on the yards.  The next picture shows the stanchions on a small yard pushed through, clipped off, and then peened on the underside.
 

In this step the pliers hold the eye of the stanchion and act as an anvil for the light tapping of the hammer. No, this is not how the mizzen skysail yard was broken.  With these installed, the ironwork on the yards was blackened and the remaining minor fittings added.  The final set of yards is shown in the next picture.
 

The ironwork was blackened with liver of sulfur solution brushed liberally over the yard, followed by progressive rinsing under a cold water tap.  When thoroughly dry, the blackened brass jackstays were pushed through the stanchions. Other inserted eyes and the sheet blocks were then glued in with CA and a light final finish of wipe-on polyurethane applied over wood and metal.   In the picture the lower three yards are the main topgallant, royal and skysail yards.  Those above are the mizzen yards from the upper topsail to the royal.  These yards are now ready to be rigged and mounted.
 
 
Ed

Hello dear friends, 
I have just started with interior of a great cabin, at this moment it looks rather untidy but during next weeks it will be fully equipped and nice. Here are some actual pics, how the "change" begins.... The last gunports on main deck (before quarter galleries) will be closed and the space between them will serve for electrical wiring.
 

 
 

Hello Rob,
No problem, I would like to explain anything, only my English is not very good and sometimes is a bit difficult to understand. Plenty of various modifications and structural elements I try to do accroding to museum models and paintings/drawings from that period. I am also very grateful for help and professional advice to the top expert and experienced naval captain from our country - Kpt.KL. I have already written about him in some of my previous posts. For example you can read through his professional research about Sovereign of the Seas (1637).
 
https://www.modelforum.cz/viewtopic.php?f=183&t=46754
 
Several years ago I built a model of this ship (also a scratch build out of card) according to his advice and research, and achieve one of the most realistic results. Here are some pics of my model:
 

 
 
 
 

And here you have some pics,  how it looks on my model:

 
The angle of bowsprit is possible to modificate yet.

I start to put the boat and finish the little things.

Thanks Thomas🙂
 
Post 53
Completing the decking.
The last four strakes include hooded planks where otherwise the planks would taper too narrowly.
I rather enjoy making hooded planks and they make for an interesting feature, a change from the more familiar 'joggled' arrangement.
7/32" and 9/32" wide strips were used to form the hoods, a fairly painless process.
The final strakes against the margin plank also require 9/32" strips.
To form these I use a Tamiya tape pattern to form a template to produce these final planks.

4807
The final plank marked for spiling.

4826
Completion!
A process of scraping the decks now ensues, I don't sand decks. I will use Admiralty Flat Matt Varnish to seal the surface.
Some photo's to record the twelve month point of this build so far.

4838

4832

4837

4836
The eagle eyed will notice that I have cut out holes in the Main hatch grating to allow passage of the anchor cables.

4834
This marks  completion of this major milestone in the build.
Fitting the rudder beckons....
 
B.E.
07/12/2018
 

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!