wefalck

There may be 3D-printed ones. Check e.g. Shapeways. Two-bladed ones may be more difficult to find.

Like so many things it depends on the period. Not sure, whether this is correct for your case also, but at least from the middle of the 19th century on 'gripes', i.e. flat iron hooks with an eye at the other end, where hooked over the rails of the boats and lashed down to eye-bolts or something else convenient. Another method is to to put a wooden bar across the boat that has notches for the rails. This bar then is lashed down to a convenient point. Although the cradles lock the boats into place to some extent, it is important to prevent any sideway rocking movement, hence the notches in the bar.

COMTE, P. LE (1842): Praktikale Zeevaartkunde en theoretische Kennis: voor Handel en Scheepvaart.- 2 vols., text and atlas, VIII+313 p., pl., 118 pl., Amsterdam (G. Hulst van Keulen). https://books.google.fr/books?id=0VEx-qBg6XwC&pg=PA263&lpg=PA263&dq=COMTE,+P.+LE+(1842):+Praktikale+Zeevaartkunde&source=bl&ots=hDIPInI0tP&sig=ACfU3U38cEzogvPXcxkUYXl1R21zrJlt8g&hl=de&sa=X&ved=2ahUKEwjI8P_qtNDkAhUIkRQKHclsBOAQ6AEwEnoECAYQAQ#v=onepage&q=COMTE%2C P. LE (1842)%3A Praktikale Zeevaartkunde&f=false

KLAWITTER,  K.G. (1835): Vorlegeblätter für Schiff-Bauer für die Königlichen Schiffbau-Schulen.- 40 p., Berlin (Petsch). https://www.graphikportal.org/gallery/encoded/eJzjYBKS52JLzMmJT0kV4vTOSSzPLClJLZJidvRzUWIuycnWYgAAmNkJCQ**

Four more classical German works on the subject:

BOBRIK, E. (1848): Handbuch der praktischen Seefahrtskunde, Schiffgebäudekunde, Zurüstungskunde, Manövrierkunde, Ankerkunde, Tafeln zur Schifferkunde.- 604 p. + Tafelband, Leipzig (Nachdruck 1978 bei Horst Hamecher, Kassel).

BOBRIK, E. (1848): Vom Tauwerk und seiner Zubereitung zur Taakelasche (aus Handbuch der praktischen Seefahrtskunde.- 24 p., Leipzig (Nachdruck 1975 bei Verlag Egon Heinemann, Norderstedt).

STEINHAUS, C.F. (1858): Die Schiffbaukunst in ihrem ganzen Umfange – I. Theil: Die Theorie der Schiffbaukunst, II. Theil: Die Schiffbaukunst in der Praktik.- 158+170 p. + VI+IV pl., Hamburg (P. Salomon & Co., reprint 1977 Horst Hamecher, Kassel).

STEINHAUS, C.F. (1869): Die Construction und Bemastung der Segelschiffe.- 137 p., Hamburg (L. Friedrichsen & Co., reprint 1977 Horst Hamecher, Kassel).

Unfortunately, I am not aware of any downloads for these important works.

Apologies to Keith, we shouldn't really high-jack his building log ...

Thanks for your appreciation, I'll do my best. Well, due to the scarcity of resources the Inuit had to be opportunistic in the use of materials. Bone was used for certain parts regularly, such as toggles and certain high-strength or wear pieces (say sheathing underneath the bow and keel to protect it from the ice). I think whale-ribs were also used in kayak construction, but wood was prefered, as it could be more easily shaped to suit the users needs - kayak were 'made to the measure' of its owner. In several works it is described how a master-kayakbuilder would chew the wood of the ribs in order to allow it to be bent into shape  ... !

I have put together a bibliography on skin-boats some time ago, which you can download here: https://www.maritima-et-mechanika.org/Marine-Forum/Skin-Boat-Bibliography-190911.pdf

Probably the most useful reference is Chapelle's part on skin-boats in ADNEY & CHAPELLE (1964).

Back to the GERMANIA now ...

Thanks Keith.

Good to see the internal structure. Most museums exhibit usually complete boats.

The Inuit not only used driftwood, but also began to trade-in sawn timber from European whalers, when these began to appear on the Greenland coasts in the later 17th century. Whether they obtained sawn timber from the Viking communities until the regular connections with Norway died away in the 13th century and whether this may have influenced their building techniques is not known. However, contacts between Inuit and the Viking communities resp. their descendants seem to have been generally hostile.

Well, the reason Trump went for it are the mineral resources ... one of my activities in the arctic institute was to help develop mineral resources in a sustainable and socially responsible way.

In the wake of my work in that institute, I got quite interested in the traditional kayaks and collected a good number of printed resources on them. At some point our institute was presented with a kayak, but it wasn't terribly original anymore.

Together with a number of colleagues I developed a course for a master degree in 'arctic studies', aiming to train students inter alia in sustainable management of resources and cultural awareness. We had a series of 'bonus' classes and I put together a lecture on the various types of boats used in arctic waters, including kayaks, umiaks, and others.

So, if you have some kayak pictures, I would be interested ...

Ah, and yes, I am looking forward to your progress on the GERMANIA !

We have the tendency to pull all standing rigging taught, which in fact is only partially correct. Although in real life, the rigging would have been pulled taught, the weight of the material would pull it into a catenary, which is quite visible on photographs. This is not so easy to reproduce without looking untidy.

I would also consider the relative humidity during the conditions under which you are building. High humidity tends to tighten rigging made from natural fibres due to water uptake and swelling (which is counter-intuitive), while lower humidity tends to slacken it. You account for this in order to not have surprises during different seasons of the year, if these entail large humidity variations.

The Greenlanders must have been really offended - considering that they managed only a few years ago to achieve a relative independence from Denmark (which continues to subsidize them).

Worked for some years in a French arctic research institute and had a number of students from Greenland. Nice guys mostly. Never managed to get to Greenland myself unfortunately ...

I have used soldering-tin, spiralling thin copper-wire around it, to represent re-enforced suction hoses and I recently saw another example in this building-thread: https://modelshipworld.com/topic/20162-new-england-stonington-dragger-by-friedclams-148-pob-a-1920s-western-rig/?do=findComment&comment=653110

Not sure, a clear PVC-hose would be contemporary. A black or red rubber-hose might be more appropriate. One can nicely simulate such hoses with soldering tin-wire. It can be painted or blackened with a suitable blackening agent.

This is neither 'my' period nor 'my' region, so I overlooked this build-log until now - shame on me ! It's an excellent tour-de-force on weathering. I will keep watching the progress now ...

On the subject of lamp-boards for the navigation lights: I seem to remember that in the mid 1970s or so the maritime rules were changed, requiring the boards to be black rather than in red resp. green. Anyway, roundabout that time I noticed the change.

There are some guys in the model railway fraternity that push the naturalism to its limits. There is, for instance, this Swiss, Marcel Ackle: http://www.feldbahn-modellbau.ch/. Quite inspirational !

BTW, most of these Heller-kits seem to be based on plans issued by the Association des Amis du Musée de la Marine in Paris, which in turn are based on drawings from Pâris' 'Souvenirs de la Marine'.

I have been using glue-sticks (Pritt, Uhu, etc.) on wood, metal and acrylics. Good for small parts, as the application is not messy.

Photo mounting spray cement and similar have to be used in well-ventilated rooms and you have to protect the work surface from over-spray. Not really worth the effort, if you deal with drawings smaller than say A5.

For larger drawings, the glue-stick dries too fast and you would have to apply it in stages, which may lead to distortions. Here, the mounting spray may be better.

One should have a flat-bed ink-jet printer with a height-adjustable nozzle to be able to print directly onto the wood etc. of different thickness ...   ... thinking about this, if you have a suitably sized, but weak laser-engraver, you can burn the lines and then cut the piece out with the scroll- or band-saw.

One has to go where the work is ...

I found the Danish Veevus (http://veevus.com/) the best and they have a good range of colours and sizes. For seizings you may also use the monofiliment, which is the finest 'thread' (it is a wire, strictly speaking) I am aware of - but it only comes in black and translucent. Check out ebay for offers.

Johann, in his log on the CREOLE, has shown a simple leather-splitter, kind of an inverse plane. Seems to work well for him for 1:48 scale stuff.

I cemented (with superglue) 20 mm sections of 0.4 mm copper wire onto a flat milling sub-table and turned it into 0.2 x 0.4 half-round stuff. The principle has been used by watchmakers for the last 150 years or so, employing what they called wax-chucks (the 'wax' was actually shellac), that is a small face-plate. What is obviously important is that the rod/wire is absolutely flat and perpendicular to the Z-axis of the mill. I would mill the groove and then leave the wood in situ for cementing the rod on.

I learned that later (when I saw it on your LOGBUCH articles), I thought you would be living in Amsterdam.

Thanks, Ab. I had three years to study the 'atmosphere' while living in Alkmaar (mid 2006 to mid 2009) and working at the JRC Petten.

The linen you referred to may have been 'tracing linen' as used in the old days to copy technical drawings. I am not sure, whether it is exactly the same linen as was used to mount maps, but I have some old ones that are certainly mounted onto very fine cloth. I don't think 'tracing linen' is available commercially anymore. Your contact to restorers and museum workshops may be very valuable in this context.

I now what you mean by things 'getting too complicated' - I am constantly bogged down in my projects by technological challenges due to working in a rather small scale ...

The baby sister is coming on nicely !

For the the D-profile, you could mill a groove into a straight piece of wood, temporarily glue the brass rod into it and then mill away as much as you need. However, I would have thought it to be possible to find half-round brass profiles at that size.

I am curious as to how you will be replicating the excellent leathering jobs on the full-size boat in 1:8 scale

Haven't looked into the market for 'silkspan' for years, as I got a life's supply in the late 1970s ... in Germany it was sold by Graupner as 'Japanseide' in various densities. It is a real woven silk fabric and, hence, different from 'Japan Paper', also sold to cover model aircraft.

An alternative may be screen-printing silk fabrics. These are readily available (think of the electronic bay) in various mesh-sizes. I have, however, no personal experience with these fabrics.

'dafi' on this forum experimented with silk fabric as used by document restorers and obtained good results.

Given that 'Japanseide' is not very densly woven (the idea was to create a sort of composite material by soaking it in lacquer, whereby the lacquer provided the impermeability against air and the fabric the tensile strength) I originally soaked it in casein paint (Pelikan PLAKA was the German produkt I used), but since acrylics became available, I used these. While the aspect is quite canvas-like, the sails are not transparent. I have built up sails from individual panels cut from material impregnated with varnish, glued them together with varnish, and then painted them. This method has been discussed in one or the other thread here on the forum and is described also in my thread on the 'Botter'-model (where I actually used silk paper, rather than fabric, due to the smaller scale).

Repairs were not necessarily done with new cloth, but presumably with anything that was at hand. It is conceivable that ripped sails were kept as material for repairs. Hence it should not be surprising to find darker materials being used for patching up sails. Also heavier cloth might have been used, if no matching cloth was available.

Maintenance efforts seem to be correlated with economic margins in the respective trade, as evidenced by photographic records from the 1850s on. Low-margin trades had to make do with smaller crews and less cash to carry out maintenance beyond the functionally necessary.

One could speculate that these margins also correlate with the pride of shipowners and captains took in their assets - this could be, however, also a 'chicken-and-egg' issue: low margins make owners/captains sloppy or sloppy owners/captains drift off into low-margin business.

There would also be a difference between long-distance traders and those that had short turn-arounds, say in European coastal waters, which didn't leave much 'leisure' for cosmetic maintenance. The Navy is an altogether different story, where maintenance was the prime occupation of crews during peace-time.

I gather there are two main streams in shipmodelling: those, who go for the 'cabinet-maker' style to show their artisanal skills and those who try to achieve a representation of what the ship may have looked like in real life - and anything in between. There seem to be also certain conventions, such as 'builder's model' or 'admiralty' style that were developed at various times. The two most common ways of finishing sailing-ship models seem to be the 'cabinet-maker' style with all wood stained/varnished and the one painting the model prototype fashion, but minus weathering and everything brand-new and Bristol-fashion.

Anything venturing South beyond the Bay of Biscay would be coppered - resources permitting. Ships and boats that would be hauled out frequently or fall dry during tides, may not need this, as any fouling can be removed relatively easily.

Very nice presentation and glass-case !

Me personally, I dislike, however, the cold-white LEDs, they give everything a 'clinical' or 'industrial' aspect. I prefer warm-white LEDs at 3600K, more compatible with a comfortable living environment.