wefalck
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Everything posted by wefalck
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Hull colour.
wefalck replied to serpe's topic in Building, Framing, Planking and plating a ships hull and deck
It boils down to the question, whether one wants to build a 'realistic' or 'artisanal' (as most of the museum) models. -
Perhaps it is also helpful to look at pictures of the real ship or catalogues of yacht/ship chandlers of the respective times. I think several of the latter are available on the Internet, e.g. archive.org.
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I suppose these winches are supposed to be sheet etc. winches for the J-Class yacht? In this case, they don't look to me too bad at all - as a starting point. What would be missing, would be some details. Presumably, there would be some wooden reinforcement on the deck, where the winch is located. They also should have a crank, though these would not be permanently rigged, but only used when needed. There would be a square or hexagonal hole for them on top of the winches. You could fake this by simply drilling a shallow hole. On the other hand you could also make cranks. Such winches would be typically made from steel/cast iron and perhaps chrome-plated. You could get some chemical tinning solution to give the brass a silver metallic colour. For a display model with all-brass fitting, I would just leave them like they are.
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Hull colour.
wefalck replied to serpe's topic in Building, Framing, Planking and plating a ships hull and deck
Pine-tar was commonly used on European vessels operating North of the Bay of Biscaye, as there - at the time - the risk of attack by Terredo navalis was limited and the phenols in the tar were sufficient to discourage weeds for some time. Going further South or let alone to the tropics needed stronger stuff. This is were the (off-)white concoctions come in. When Marquardt was talking about a pine-tar/sulphur concoction, was he referring to ENDEAVOUR's original configuration as collier by chance ? -
These clinker-boats look very nice. I suppose, they will be shown covered?
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This is always the dilemma, when we are building 'realistic' (as opposed to 'artisanal') models: how to make it look rough without looking like shoddy workmanship. It can be quite instructive to have a look at what railway- and plastic-modellers do, though some tend to overdo the 'weathering' a bit.
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Actually, unless it were one of those modern tourist-dhows, it is unlikely that the deck of dhow ever shone. They were built rough and treated rough in their daily life. Deck and planking of the real thing also would not be too regular, as wood in this part of the world is a precious good. These dhows were built from timber imported from India for important structural parts and cheaper and more crooked wood, such as Mango, was used for other parts. They had to make do with whatever lengths and widths was available.
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Well, if I had the space, I would have a spraying booth, a photo booth, long benches with all the different machines set up as workstations ... 😁 Nice set-up anyway, gives you something to dream about at least.
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Talking about polyester threads and 'ropes' made from them: they are certainly less compliant than cotton, but also less fuzzy. I manage them by dabbing them in situ with a fast drying solvent-based varnish (zapon varnish). In this way you can hold them in place while the solvent evaporates and a drop of acetone makes them pliable again should you not be happy with the result. This works well on acrylic paints, but you may run into trouble with enamels (have not used them anymore myself for years).
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Well, I was told so by my grandfather, who was in the German Imperial Navy. And my 1920s textbook on ship’s joinery clearly distinguishes stairs and ladders.
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Once you were washed over board, you didn't care about anything anymore, that was the end of it ... Talking about negotiating stairs, which were always inclined by definition, on a ship you do this always backwards when going down, so you can hold onto the sides and your centre of gravity is over the stairs. So, no need for hand-rails.
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Very professional looking indeed 👍🏻
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Nice Scandinavian-looking outhouse you built there 👍🏻 ... and the boat is coming on nicely. One can imagine almost an old Nordic/Viking ancestry at this stage of building.
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If there wasn't the messing around with the monomer resin. Hopefully, in couple of years or so I may have a dedicated workshop-room, but in the corner of the study in our apartment that is not such a good proposition 😞 The is also a steep learning curve to get to master the CAD modelling programmes, so I had some basic training in Auto-CAD a few years ago and regularly use my 2D CAD program. On another forum I am following a couple of guys, who model and print whole ships in 1/100 scale. Wonderful stuff they do. I am envious. On the other hand I would loathe to replace my 'historical' lathes and milling machines because they have become obsolete by this new technology. It took me years to build it up and now that it is in full working order it has become kind of obsolete in a way 😲 Well, at least for building 'realistic' shipmodels, perhaps not for 'artisanal' style models.
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I am not really familiar with skipjacks, but if they had plain wooden decks, why would you want to stain and varnish it? Some people leave bare wooden decks bare wood, but one could also apply a sanding filler/shellac to aid sanding or rubbing down with steel-wool.
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Ad 1: Brails on gaff-sails could only be used, when the sail was loose-footed, i.e. only attached to the boom by the sheet; you can't even use the brails with sail laced to the boom. Ad 2: My understanding of brails is that they were used on square sails to take up some of the weight of the sail when reefing or furling it; on gaff-sails they could be used to help furl the sail against the mast, particularly when rigged with a standing gaff; they were also used when sailing to adjust the centre of effort of the sail plan, to balance the ship on a particular course or to help tacking/going about. Ad 3: I don't really know, but as both storm-sails are smaller than the regular spanker, the hauling point would have to be further forward along the boom; their sheet could also be belayed at any convenient point, e.g. the rails; I wonder actually, why there shouldn't be any sheet for the spanker - somehow it has to be attached to the boom?
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Professional etchers use either a foam- or a spray-etching process to achieve uniformity across the fret and reduce underetching of the edges. One thing I will try one day is to laser-print the design onto so-called thermotransfer-paper and iron the design onto the prepared metal sheet. One has to make a sleeve from the thermotransfer-paper with mirror-images of the design matching up exactly, so that the etching takes place from both sides. This reduces underetching and allows surface etching (say rivets), if the two designs are made appropriately. The toner acts as the resists and one does not need a separate etching mask and photoresist covered metal sheets.
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Plexiglas (acrylic glass) is much harder and stiffer than polystyrene. It machines very well in comparison and keeps a keen edge. It can also be polished, unlike styrene, which comes handy when building skylights etc. I am kind of partial to Plexiglas, as I sort of grew up with it. My father worked for the pharmaceutical subsidiary to the parent company Röhm GmbH, the original manufacturer of Plexiglas. So we had easy and cheap access to it. In fact most of my supplies were acquired before my father retired in 1986, so the material above is probably more than 40 years old. A problem is that Plexiglas is not available in thicknesses of less than 0.8 mm. So, the 'structural' parts of the model will be made from Plexiglas, while the planking will be styrene - not ideal, because I would have preferred something stiffer. I could use bakelite-paper, which works very well for the purpose, but I want to engrave some of the planks (as one will see later on in the building-log) and that does not work very well with the brittle bakelite. Also, I would have to glue everything with CA, which I don't like too much.
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I wonder, whether there aren't any photo-etching service suppliers on your side of the pond that cater (also) for modellers? Over here in Europe we have several established in the market for years - I know one or two in Germany, the Czech Republic and Poland (the latter two are price-wise quite competitve due to lower salaries). I had a go at photo-etching myself a few years ago, but with mixed results. The main issues I identified was producing masks of sufficient black density with my printers and the primitive etching process in cuvettes I used. Even for the small frets I made uneven etching across the fret was a problem. Our parts are quite different from PCBs, because we have parts that are to be etched through (no backing board) and we also etch in different layers (surface etching). Most home-made PCBs are also unlikely to have such fine and dense details as are required for modelling.
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It begins to look ship-shape 👍🏻 You are in the same dilemma as we all are who try to depict working boats in their real condition: how do I reproduce the irregularities and haphazardness of the 'real thing' without the model looking poorly executed. A problem that our colleagues who build historic ships in an 'artisanal' style to show their woodworking etc. skills don't have. I think there is no problem in using different plank widths or varying shift patterns as long as the planking us such is done neatly. Even if boatbuilders have to do with the random material that is available, they usually take care e.g. to plane/adze the surfaces neatly with no plank edges sticking out etc. I observed this even at the rough beach-building places for dhows in Zanzibar. The irregularities have to be to 'scale'.
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The swarf from acrylic glass is quite crumbly and brittle, so it is easy to remove with a bristle brush.
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There won't be any wood on this model. On the prototype only part of the wale, the deck, mast and spars would not have been covered in paint. At this scale, even the grain of box-wood would difficult to handle and Plexiglas keeps much crisper edges. More details on the planking etc. at its time 😉
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Normal household silver or brass polish will do. It comes usually either as cream in pots or semi-liquid in bottles or tubes. Rinse well afterwards.
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This appears to be a pivoting support rod for the yard that is attached to the parral. These seem to have come into use in the 1880s or so for lower and lower top-sail yards that not normally were raised or lowered and replaced halliards. Check out UNDERHILL, H.A. (1946): Masting & Rigging the Clipper Ship & Ocean Carrier.- 304 p., Glasgow (Brown, Son & Ferguson). I think there is a drawing in there. The rod was hinged to a central band on yard connected with the parral and its bottom end was hinged to a band lower down on the mast. The hinges allowed to brace the yard.
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If I understand correctly, LYNX was a kind of privately built privateer? So, it may not have followed any navy pattern/regulation. As these are upper deck guns, any eye-bolts would be sitting in the bulwark stanchions. Bulwark stanchions do not have any support from above, so they would be heavily strained on bending, resulting from the recoil. In consequence, one would probably try to distribute the strain from the breech-rope and the tackles over different stanchions and to keep the eye-bolts as low as possible. The question then would be, how the stanchions might have been spaced in order to find a point of attachment. Are there any naval regulations/USN handbooks for the period in question? I am not familiar with the period/country. Otherwise, RN practice would probably the next thing to look for. I would shy away from looking at modern interpretations and models, as one does not what sources the respective author/builder might have used.
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