wefalck

Why and since when cowl vents are painted red inside still seems to be an unresolved question. We have been discussing in various fora etc. for the Imperial German Navy, but the discussions remained unconclusive. At some stage white seems to have been common, apparently to serve as a light conduit as well. I have also seen black ones - e.g. the boiler-room ventilators on my SMS WESPE at least in the early years; presumably to make coal dust less visible. French ventilators in the 19th century seem to have been the same colour outside and inside. Another suggestion for the choice of red as colour has been that it resembles (faintly) the copper from which many early (smaller) ventilators were made.

You seem to be getting closer to my size range 👍 Yes, one can't really bore that well with a ball-endmill, but it also depends on how it is ground.

Keep venting ...

The kit presumably is based on the set of plans published by the AAMM: http://www.planeteloisirs-bg.fr/index_fichiers/pages/bateau/marie-jeanne-1.html I am not absolutely sure, but the above plans in turn may be based on a plate in Pâris' Souvenirs de la Marine.

Keith, this is a very simple machine. I started a separate thread on it: https://modelshipworld.com/topic/23478-miniature-desk-top-laser-cutter/ Essentially, it is a very simple piece of software that reads the image pixel by pixel, row by row. It's bit image driven, not vector driven.

Thanks, gentlemen, for your kind words ... ******************************************** Scrollwork and name-plates As I had tried laser-engraving on cardboard for the gun-layer stand, I wanted to try out this technique also for the scrollwork and the name-plates. Originally, I had foreseen to develop the scrollwork by printing the design onto a decal-sheet and then build it up by sculpting it over the printed lines with acrylic gel. The name-plates could have been surface-etched in brass. One could have etched, of course also the scrollwork in brass and then complete it with acrylic gel. Best available image of the bow scrollwork and name-plate It is not very clear what the scrollwork looked like when new and from what material it was made. The fact that it seems to have persisted intact over the whole life of these ships may indicate that it was actually cast in some metal, rather than carved in wood. There are no close-up photographs of sufficient resolution in the black-white-yellow paint-scheme. Closer photographs are only available from a later period, when everything was painted over in grey and some of scrollwork may have been picked out in a darker grey. Originally it was probably painted in yellow-ochre with parts of gilded. In any case, available photographs are not clear enough to truly reconstract the scrollwork, so some interpretation was necessary. In addition to the scrollwork per se, there was a shallow sculpture of the animal after which the ship was named, for SMS WESPE, of course, a wasp. Existing photographs only give a vague idea what these sculptures really looked like. In any case not for SMS WESPE. Only available image of the stern scrollwork There has also been some scrollwork at the stern, but pictorial evidence for this is rather scarce. There is only one known photograph that gives a full view of the stern of this class of ships and this was taken at the very end of their service life. Available copies of this photograph are not clear enough to really discern what the scrollwork actually looked like, so a fair amount of imagination is needed to recreate it. Artwork for the bow scrollwork Creating the basic artwork for the decoration was a multiple-step process. First a photograph of the respective section of the model as built was taken in order to give the necessary proportions. In the next step the best available photograph with the least perspective distortions was chosen and fitted over the model photograph. In another layer of the graphics software (Graphic for iPad) the scrolls were drawn free-hand (with the iPen) using the paintbrush-function and a good amount of smoothing. This artwork was saved as a JPEG. On the Internet I found a nice drawing of a wasp and turned this into a pure b/w image with a good bit of editing in Photoshop. Both, the scrollwork and the wasp were saved as transparent GIF. In my favourite CAD-program (EazyDraw), the parts were mounted together. This could have been done also in Photoshop, but I did have a scaled drawing of the bow-section in EazyDraw to which I exactly fitted the artwork. There were also some addtional parts to be cut. Some examples of the (unused) laser-cut scrollwork and the name-plates The scrollwork was cut/engraved with the laser-cutter using the ‘half-tone’ function, which means that the laser is modulated to emit less power when a grey pixel is encountered and full power, when a black pixel is encountered. I had to play in several iterations with the settings of the laser-cutter in order to arrive at a satisfactory result. Scrollwork and name-plate in place In a first try the name-boards were made in the same way, but the half-depth engraving around the letters resulted in a somewhat fuzzy apearance of the letters. I, therefore, tried out a different idea. From previous trials it was know that the laser had no effect on transparent materials and very limited effect on translucent materials. Hence, I covered some cardboard with a thin layer of Pleximon 192 (essentially liquid, light-hardening Plexiglas). A thorough curing this sandwich was sanded flat and presented to the laser-cutter. The laser removes all the cardboard, but leaves the acrylic virtually untouched, with the exception of some light surface roughness. One ends up with a piece of thin acrylic sheet to which the letters and the scrollwork of the name-board are attached. Within the limits of the resolution (0.05 mm) of the laser-cutter the lettering turned out reasonably clear, perhaps not as crisp, as when photoetched though. Stern scrollwork in place The scrollwork elements were attached to the hull using fast-drying varnish. The actual painting and guilding will be done, once the hull has been painted. To be continued ...

When it is only about protection from solar radiation, one could put a second light roof over the actual roof with a few inches of distance. The chimney effect should cool the lower roof. Solar panels for that second roof would generate some electricity too. That doesn't solve the problem of high humidity though. To my knowledge these mobile A/C units are rather inefficient and have significant carbon-footprint.

Somehow, I missed the last instalment. Playing around with paints of different sheen is a good idea. I've played with gloss, semi-gloss and flat acrylic varnish. Some people prefer their models flat all-over, but I think even at relatively small scales the different sheen of of different materials is noticeable and brings a model to life 👍

Well, the descerning owner prefers exclusive small producers ... we collect a case or two from time to time from https://www.vivino.com/max-cochut-champagne-aristide-de-saint-cyr-brut/w/6366721?year=U.V

Very good idea for turning/milling the legs from the solid ! Probably gives a much cleaner and crisper result than trying to fabricate it from sheet.

Did you look at images on the Web ? OK, views of what VICTORY might have looked where and when are changing as research progresses (see 'dafi's' building log), but Longridge's book on Nelson's ships might still be a good starting point.

Cutting a template from steel certainly is an option, but may be rather challenge in itself to do. Unless you use the template as a scraper, some cardboard or a piece of styrene may be sufficient. I would draw the shape for both sides in the correct size on the computer, print it out (checking again for the correct dimensions) and glue it onto the part - then work your way up to the lines.

The square mesh was a concession I had to make to practicalities. The fabric is so delicate and slippery, that it would have not been possible to pull every other thread.

The Chinese are quite capable of manufacturing high-quality products - but, as always, quality has its price. Countries seem to go through a certain cycle, when they enter a market. Way back in the later 19th century German manufacturer tried to compete through the price with British products, which resulted in poor quality (plus the technological catch-up as well) and poor reputation; later quality and, hence, price had to be ramped up to stay competitive; the 'Made in Germany' originally meant to be a warning imposed by British importers, became a sign of quality. Post WWII the Japanese went through a similar cycle; they first targeted the low-quality mass-market - I still remember that in the 1960s we frownd upon cheapo plasticy toys and other goods with the 'Made in Japan' cast into them; now they are among the leading manufacturers in the World. There are signs that the Chinese will go the same way.

... and actually, from such a low point in the sea, you don't really want to see this - or may be you are glad, when a ship comes in sight ...

Folding tool update After the first use of the tool, I immediately made a couple of modifications, which however, I had expected to introduce anyway. When working with cardboard or paper one needs to ‘overbend’ the folds somewhat, so that they stay at the desired angle. This is different to working with soft sheet-metal. Styrene sheet also will have this spring effect. Therefore, the folding edges were given a 10° clearance angle. An angle of 15° may have been even better, but it works with the 10°. The edges are not really weakened by this. The second modification was to place a spring washer under the folding ruler. I had in mind to do this right away, but could not find them in the first place. The washers lift up the ruler a bit, so that it is easier to slip the material under it. Gun operating platforms and gratings The gun is mounted effectively on a turntable, so that platforms for crew are needed to give them access to the gun, while is being trained left or right. These platforms are made of wire gratings that are placed into angle-iron frames. The frames are suspended from the lower carriage by brackets. The pictorial evidence (photographs, drawings) is not detailed enough to fully understand what the brackets actually looked like and how and where exactly they were attached to the lower carriage frame. Some additional information is given by the Danish instruction model and the Russian clones in Suomenlinna fortress, but the carriages of these guns differ in detail from that on SMS WESPE. So the reconstruction of these platforms remains somewhat conjectural. Crew standing on the gratings and operating the gun Gratings of the Danish instruction model Detail of gratings on a gun in Suomenlinna fortress There are 13 gratings and steps in total, plus the platform for the gun-layer. The original plan was to photo-etch the frames from brass sheet, but with the arrival of the laser-cutter I changed this plan. The drawings were modified accordingly. The obvious solution to simulate the angle-iron frame was to design an open frame and then fold-up the vertical parts of the angle. However, it proved impossible to fold the narrow, 0.3 to 0.4 mm strips consistently and without distortions. Not sure this would have worked with the PE parts either. It was then decided to make the open frame and the vertical parts separately as narrow strips and glue them together with lacquer. After several iterations of drawings and laser-cutter settings to arrive a workable width of the strips etc. I arrived at an acceptable solution, albeit the ‘angle-irons’ are somewhat over-scale. Example of a drawing for the gratings and their supporting brackets Assembly was a slow and nerve-wracking process. I did not manage to do more than one grating per evening and it involved a lot of (mental) foul language. Eventually, I got them all together. Zapon-varnish was used throughout the assembly. The finished parts are surprisingly strong. First Version with engraved surfaces of the platform for the gun-layer Final Version of the platform for the gun-layer (5 mm grid on the cutting-mat) The original plan was to simulate the wire-mesh of the gratings by real wire-mesh and I obtained from wires.co.uk some really fine mesh in brass and steel. The idea was to pull every second wire in one direction, as the original mesh was rectangular. It proved, however, very difficult to cut such small pieces (sometimes only 1.5 mm wide) from the wire-mesh. Then a present to wife in form of a box with various (fruit) teas came to my rescue: some of the teas came in bags made from extremely fine but lightly woven fabric. I do not know what material it is, but as it dissolves in acetone, it is probably cellulose acetate silk or Rayon. Such fabrics are also used in silk-screen printing and I had not chanced upon the tea-bags, I would have looked there. This silk-screen or fabric can be precisely and easily cut with a new scalpel blade. The small pieces of fabric were dropped into the frames and fixed at the edges with a light touch of varnish. Tea-bag fabric The platform for the gun-layer is a more complex structure. A 5 mm sheet-metal armour shield is meant to protect him from shrapnel and small-arms fire. The armour shield is reinforced at the edges with rivetted-on metal strips. The original plan was to produce this as a surface-etched part. I realised that the laser-cutter interprets half-tone images as instructions to modulate the laser power so that it does not cut all the way through. Laser-engraving in other words. It did produce the desired effect, albeit with the engraved surface being rather rough due to the digitising effect. However, this part then was so thin and flimsy, that it would not stay in shape, when attempting to shape the round corner. I reluctantly accepted that it would be somewhat over-scale in thickness and cut the armour shield and the reinforcing strips separately. They were glued on top of each other with varnish and then the round of the shield formed over a rod. Folding and gluing completed the process. The collection of gratings and steps I am not entirely happy with the result and tend to think, that etched parts may have looked finer. But then their assembly would have required a lot of very delicate soldering work – I don’t trust CA for metal/metal bonds too much. On the other hand, attaching the gratings to the lower carriage frame is likely to be easier for the cardboard parts than for brass parts. Before that can be done, I need to add the wheels, which requires a lot of handling ... To be continued ...

So you don't know the hole diameter in the saws ? At least on my PROXXON the fence is a weakness. I gather, like any other manufacturing company, PROXXON has/had to strike a balance between the cost of production and the price at which their products can sell in the market. For many years they were the only manufacturers of hobby machine-tools that were somewhere between toys and 'real' machines at an affordable price. I have had some of their machines now for well over thirty years. Not sure what industry you are/have been working in, but as a German I am almost inclined to take a bit offence at these wholesale comments on German design. I gather some industries do quite well and have turned out products that are still in use 100 years after their manufacturing (I am thinking e.g. of my watchmakers lathe).

Love it ! The strange thing actually is, that probably very few people would have really seen such a scene, traffic was not that dense.

Looks like a Chines copy of the PROXXON - with the same design shortcomings, such as the fence that does not go through and is not fixed to the rear. The motor though seems to be a lot stronger, as the one of the PROXXON is only rated at 150W, if I am not mistaken. Does it take standard blades, i.e. with a 13 mm or an 8 mm hole instead of the proprietary 10 mm hole of the PROXXON ?

👍👍👍

Very nice rendering ... and you are right about dioramas (or rather scenic settings, as a diorama by definition actually is a box with a background, like a theatre-stage), sometimes I see years later things that could be added .... This Swiss guy perhaps is one of the best scene-builders around: http://www.feldbahn-modellbau.ch . Very inspirational.

Keith, did you ever try 'focus' stacking ? Using a tripod, one takes several photographs with different focal points. Software packages, such as Photoshol (LE) have a function that allows you to superimpose several images to create one image with continuous focus.

Impeccable brasswork, as usual. It seems that the yacht-designers chose a rather complicated solution for the back of the benches. On British railways (I think) and in parks I have seen simple solutions with just one bar and stoppers on either side.

People are always fast with 'buts', but I would be somewhat cautious with this kind of vinyl floor tiles. I did my mother's porcelain-painting workshop floor with them and with time two issues emerged: a) the adhesive started to ooze out between the seams of the tiles and obviously started to attract dirt, resulting in an ungainly appearance of the light coloured floor b) with time also some corners of the tiles started to lift off and became ripped off in high-traffic areas. Not sure whether this was a fault due to my inexperience as a floor-layer, or is an inherent flaw of the material. The dirty seam problem probably could be abated by laying single black and white tiles, as then the seams would not be very visible. Otherwise, I personally would rather go for a wooden/laminate floor ... more forgiving, when tools drop or paint/solvents are spilled. It can also be refurbished by sanding and revarnishing.

As a teenager I started Revell's BOUNTY, but was not happy with these rubbery plastic shrouds. My knowledge was rather limited back then, but I looped the shrouds around the moulded deadeys prototype fashion. At a 1:120 scale I did not see a way to replace the moulded deadeye/lanyard assembly. With dry brushing one could probably make the moulded lanyards look quite convincing. As always, a picture or two would help to illustrate the problem and put others into the position to give more specific advice.