wefalck

In principle, it makes sense to have the binnacle windows facing forward, because this protects them from following seas. In this position, however, one would need to have two people to steer the boat, one at the helm and another reading the compass and giving directions to the helms-man. As to the davits: perhaps the dinghy was meant to be stowed hauled clause to the davits, rather than being suspended under them.

Is this your model ? The tiller looks a bit short. In order to work it, one would have to stand on/walk over the hatch. This is not unusual to have to walk over obstacles, but having to stand on the hatch most of the time would be somewhat inconvenient. There are two typical ways in which the rudder is connected: either there is a mortice in the rudder head and the tiller has a tennon, or the other way around. The end of the tiller end should be at about hip height, so often tillers are curved somewhat, to bring the end to that height. BTW, the box with the bell on it, is it facing the right way around ? I gather this is the binnacle stand that should open towards the helmsman. And, the stern davits look a bit too much forward; I think they should protrude further to allow the dinghy to be properly suspended.

Yes ... in his next post

Again, the deck-layout would be helpful. And an idea, based on the opening for the rudder in the transom, what angle the rudder could/should cover - the longer the tiller, obviously the smaller the angle can be for given width of deck. It may be also useful to trawl the Net for images of (old) models (not modern interpretation) of similar vessels and drawings.

Rows of trusses ? Where ?

For tiller steering or for use with a wheel ? What sort of deck-houses and deck-furniture would be in the way ? A deck-plan or other sort of image would be useful to understand what we are talking about.

Well, Johann, you are getting better and better

Tell me about dust ... particularly, when you use the sharpening feature in Photoshop.

I think 'archofo' has them represented in his model of LA CREOLE (1827).

Don't forget ligatures in print, of which there used to be many.

Well, in real life, decks would look pretty flat as they are just sanded/scraped and not treated otherwise.

Well, in German 'Fraktur' (=broken, vs. round) print this was used well into the 1950s, when it was gradually replaced by antiqua-type fonts in which before only foreign language texts were type-set. The long-s was only used inside words, not at the end. I was exposed to this kind kind of print since my early youth, as probably the majority of books in the parental library was printed in that way. Between about 1905 and 1942 schoolchildren were taught a cursive hand called 'Sütterlin' (after its inventor). The reasons for this are complex, but it is rather difficult to read, if you are not used to it - for instance the 'e' looks like an 'n' and also has the long and short 's'. We were briefly taught this in the second year of school, so that we would be able to read letters from older relatives The greek alphabet also uses two 's', depending, where you are in the word, btw.

Seems that you are not letting your slipway getting cold ...

OK, I get the point. Somehow, I assumed that the 'experiment' would be somehow finished as a 'real' model. I myself also like to experiment with different materials, but this is rather driven by the need to make smaller and more delicate parts or to use thinner materials in order to be in scale thickness. Thus for instance, I am currently striving to make 1.5 mm double blocks from laser-cut Canson-paper - the theory in my imagination looks pretty straightforward, but at iteration nine, I still did not manage to produce what I want ...

Yes, avoiding to distort the shell, while fitting the frames would be very important.

How will you taper the spars and work in the square and octogonal sections that they probably have ? Not that I would push the use of card that far, particularly as is will not be visible after painting. I know card-modellers working from printed kits like to push the use of card to the limit, but then the model has a certain 'style' in which the card as such is recognisable. When the card as such is not visible, I would rather use wood or metal for the masts and spars.

Your tracing contrapment is a bit like those DIY tracers with a stack of steel rods in a frame ... It occured to me, that one could also use one of those consumer laser-scanners to produce cross sections and print them onto paper templates.

I have seen people glueing together templates for the outside of the (sawn) frames from short pieces of cardboard, perhaps twice as wide as the planks and overlapping each other. Lucky those, who are building clinker-boats with bent frames

It's like making one side of the four segments of the collet sloping towards the next. So you file from the outside towards the middle of the hole. In fact, one could also use some thick-walled steel tube.

I looked at the Vanda-Lay contraption years ago. Essentially it is what watchmakers call a 'rose-cutter' and as I have a set going from 0.4 mm upward, there was no need for me. However, it should not be too dificult to make such rose-cutters yourself. You need to drill a hole of the diameter of the tree-nail into a piece of silver-steel, file the cutting teeth (like saw teeth) and then harden it (heat to a red glow and drop into water, then temper to a straw colour). These cutting teeth should be sharpened/honed at their breath, not at the sloping back.

Thank you very much, Brian, for your kind words ! ******************************************* Steady work, but somehow slow progress ... Anchor stowage and release gear The Inglefield-anchors are stored on sort of recessed slides and released by a traditional form of gear. This gear consists of a rotatable iron bar with a couple of thumbs welded on over which the securing chains are hooked. The chains go around the anchor and the other end is shackled to the wall of the recess. The bar is prevented from rotating by lever that is also welded to it. The lever in turn is locked by a rotating claw at the end of a second lever. I suspected this mechanism from the available drawings, but wasn’t shure about it – a German colleague had better eyes than me an could confirm this indeed on the not very clear photographs. The slide is protected by three T-rails on each from the weight of the heavy anchors. Recessed slide and anchor release gear – close-up photographs are terribly sobering 😞 The release gear was fabricated from 0.3 mm diameter tinned copper wire and assembled using varnish. The rails in turn are fabricated from laser-cut strips of Canson-paper that was soaked in varnish. They also function as bearing for the bar of the release gear. I suspect the bearings were a bit more elaborate on the prototype, but I don’t have more detailed information. The locking claw is also a microscopic laser-cut piece. As usual, I had to experiment with different variants of the drawings and settings of the laser-cutter until I managed to produce reasonably clean parts. Recessed slide with Inglefied-anchor put temporarily in place Also visible on the photographs are the foundations of the anchor-cranes that will be discussed in the next installment. View of the bow with the anchor stowage To be continued ...

MARIUS is a good film. We just bought the DVDs with the whole trilogy.

No Glögg ? 😞 Oh, yes, the planking came out very nicely !

But I believe, neither topping-lifts nor the boom-tackles would be belayed on the boom itself ?

Very nice effect of the pigment. Should have done this on my botter sails too, they were kind of rather delicate. If you spray acrylics in thin layers on paper, so that the paint dries immediately, there is little risk to disturb the paper. I have done this on several occasions.