wefalck

Well, what can one say ... a lock-smith apprentice could have done this as his test-piece (in German we have a much more impressive word: Gesellenstück) I understand that knobs are preferred on boats and ships over handles, as lines or clothing can easily get caught in handles - which kind of shows the pervasive maritime tradition in Britain, where doors usually have knobs.

Multi-talent ....

The materials and techniques used would also depend on the scale, the period, the absolute size of the panes, and whether the windows could be seen from the outside only or also from the inside. There are numerous options.

Of course, the archive of the Danish naval yard is an on-line treasure trove of period details ...

Not sure we can still get solderof this composition - the use of lead and cadmium is being phased out at least in the EU.

Perhaps of interest: https://catalogs.marinersmuseum.org/media/Media/00002/Design of Winches00636165427321700621.pdf

"... if in shape" is perhaps the keyword. Very few of us, including the old-time sailors, would be in such shape. The idea is not to work with your muscles - and break your back, but to use your own weight. There are alway several palls, so if one breaks that is bad, but not an immediate disaster.

I started with a cookie-tin full of tools ... now it's several removal boxes and two made-to-measure crates for the milling machines. Will be moving in three to four years time and then hopefully into the well-designed (small) workshop. Admiral's company is a consideration. However, all the computerised drawing-work will be done in the living-room - if she is there herself

It also depends on what one wants to achieve, for instance a realistic, prototype look, or to reproduce certain historic practices (or fashions) of model building.

Masts were usually made from pine or fir, coming in Europe from Scandinavia or Russia, but also from domestic forests tended for the purpose, e.g. in France. In North America also pine and fir were used. Mahagony was not used for masts because of its price and also its weight. Pine and fir were also available in long straight lengths and is quite elastic. I don't know what wood species were used in Asia. For models commonly used wood species for masts and spars are pine, beech and ramin. For small yards or in small models for masts and yards also boxwood is used. Mahagony and walnut are too dark for masts in most cases.

I like these modifications to the movement holder, particularly the downhold fingers.

Very complex soldering project ... and well-done, of course !

Yep, I like these complex machining projects too 👍 One could etch the lettering into some brass and the slighly dome the disc. Or, you could find a shop with an engraving machine, who might do it for you. The kind of shop that engraves pens for instance. Normally they use brass templates for the lettering, but a large paper template may work for a one-off job.

Quite frankly, I think this an artificial problem. If mast and spars are big enough to practically insert a wire, there will not be a stability problem, if a suitable species of wood has been selected. After all, we have century-old models that don‘t have problem. When wood becomes a problem at small scales, it is better, to make masts and spars from metal. We have to also remember, that the standing rigging does not have to be as taught as a violin string. So the loads on masts are quite limited. Against the museum recommendations I made masts from steel rod. Steel is much stiffer than brass, hence it is easier to turn on the lathe. Even with a fixed or travelling steady turning long lengths of brass rod can be a pain.

Luckily, not all modern artists paid attention to this ... 😏

So far, I have only seen hexagonal collet-blocks. It shouldn't be too difficult to make one from a square one or from octagonal/square stock, if one has a milling-machine.

No threads ? OK, left-hand dies of this size would cost you an arm and a leg ... The first picture shows presumably the raw material for the counter-nuts ?

There seems tobe a problem with your pictures ...

One should note that museums normally commission models only at 1:48 or 1:96 (or 1:50 or 1:100 for most of the world) scale. At smaller scales the materials requirements are often difficult to meet. On the practical side, I think when mast and spars of wood are so thin that their stability is of concern, it would be difficult to give them a metal core. I would be better to make them from metal right away.

One should remember that acrylic paints are complex emulsions. So by diluting a specific brand with haphazard mixtures of solvents the emulsions may break down, leading to coagulation and then clogging of the airbrush. Either you may need to experiment yourself, or rely on the experience of others.

Cog, resin-casting requires a model, a prototype. If I can make one, I can make four without too much effort. So, not much is gained. The difficulty is making the 'model' ****************************** Steering-wheels, third edition A colleague challenged me to turn the brass reenforcement rings. I took up the challenge and bored out a piece of round brass stock to 6.8 mm and turned down the outside to 7.2 mm. From this tube with 0.3 mm wall thickness slices of 0.1 mm thickness were parted off. After a few trials to get the settings right this worked fast and repeteable. The rings were deburred on 600 grit wet-and-dry paper, ground finely on an Arkansa-stone and polished on a piece of paper with some polishing compound. The new steering-wheels, above the brass rings As it would have been very difficult to remove the old rings from paper from the wheels, I used the opportunity to produce a third edition of the wheels in which I left out one of the middle layers. The second edition was actually slightly too thick. Using the tried-out cutting parameters and now with some practice in assembling them, the new wheels were ready soon. The brass rings were glued on with lacquer. The freshly cut wheels (I use a roof slate as cutting support) The axle including drum for the steering rope were turned from brass. A pair of steering-wheels provisionally assembled and the component parts The wheels will be spray-painted painted all over and then the paint rubbed off from the brass rings. This will nicely simulate the rings let into the wood as per prototype. To be continued ... hopefully soon ...

Perhaps another thought: this is a past-time, something we do in our spare hours. So, I like to be in a pleasant, comfortable atmosphere that is also congenial to the subject I am working on. Hence, I have tried to create around me a bit of a 19th or early 20th century workshop atmosphere. I know, there are practical limitations to comfort, when you work with larger woodworking machinery and the dust it may create in spite of extractions fans etc. For me this is not a modern, efficient industrial environment, but I want to immerse into an atmosphere more contemporary to the models. Therefore, I prefer also 'warm' lighting and being surrounded by wooden cabinets. Not only the final product matters, but the way towards it. After all it is valuable life-time you are spending in the workshop.

There is also the 'Mini-Lathe' Web-site that should answer allmost any question about these lathes. It has been around for some 20 years by now. Used to subscribe to 'Model Engineer's Workshop', but since the publishers Nexus ran into trouble and it was delivered somewhat haphazardly, I gave up the subscription. I am sorry to say, but this kind of subscription has been superseded largely now by the Internet and the fora.

I used the threaded inserts mentioned by Roger Pellet for tying down interchangeable bases for my watchmakers lathes on the lathe stand, but didn't think of putting them into the workbench at strategic locations for tying down other moveable equipment - made a mental note for this !

It probably would have had what is called 'grapnel': From: https://www.alwayshobbies.com/model-boats/model-boat-fittings/aero-naut-grapnel-anchor