wefalck

First of all, I would like to echo the others on the planking job 👍🏻
 
On decked boats (as on ships), I think the mast would be round, where it passes through the (upper) deck, as a round opening would be easier to keep water-tight, though usually a tarred/painted 'manchette' of canvass would be put around it, tied to the mast and nailed down onto the deck.
 
A square or rectangular tennon fit into the keelson would prevent the mast from turning. However, whether this would be sufficient in the case of an unstayed mast, I don't really know.
 

First of all, I would like to echo the others on the planking job 👍🏻
 
On decked boats (as on ships), I think the mast would be round, where it passes through the (upper) deck, as a round opening would be easier to keep water-tight, though usually a tarred/painted 'manchette' of canvass would be put around it, tied to the mast and nailed down onto the deck.
 
A square or rectangular tennon fit into the keelson would prevent the mast from turning. However, whether this would be sufficient in the case of an unstayed mast, I don't really know.
 

Thanks, @Stubby, I enjoy research about as much as building! And thanks, @Keith Black, for the pump examples!
 
More work on planking. I've been able to get a little better at lining up the top line of the plank joints.

 
One issue I've had is that, due to the different plank widths and strake lines of my model compared to the kit design, I haven't been able to use much of the kit-designed prespiled planks. It feels like a real waste--it's a great feature of the kit, but it doesn't really work if you go with lapstrake planking. So I was happy that, for the next strake, which is the one below the sheer strake, I realized that I could make it from the kit-supplied sheer strake, which for whatever reason was slightly too short to work as the sheer strake on mine. (Maybe my transom extends a little farther aft than it should? Or I screwed up something in the scan and laser cut process?)  It's a lot wider than the normal planks, so I could spile from it, as seen below.

 
At this point, there's very little bulkhead to clamp to, so I've had to be a bit creative with rubber bands.

 

 
I now just have the sheer strake left to add. I feel like, for a vessel of this size, it would probably be best to make it from a single piece, although I'm not looking forward to the complex gluing process that will entail. I'm pleased with the lapstrake planking so far. Before painting, I think I'll add a coat of shellac to help seal and strengthen the wood so I can touch up any stringy/ragged visible edges.

 

 

 
Elsewhere, I've begun work on the rudder and mast. The mast is made from two layers of basswood, which mitigates against the relative weakness of basswood as a mast.

 
Before I round off the mast, I need to decide whether it should be round all the way through, or squared-off at the deck. My initial thought was that, on an unstayed mast, a square cross section low down would keep it from spinning around. I began cutting the mast step partners square, but accidentally made them bigger than they should be, so it doesn't quite fit like it should and I'll need to take care when I step the mast. Moreover, it looks like Chapelle's plan shows a round mast at the deck, so maybe I should just round it all. I'm also trying to figure out whether to use brass rod or wood for the rudder shaft.

Added the rear light bar and braces, the number plate and racing number will go over this 

1:192 is going to be an interesting scale for a rigged model. It sort of falls between the scales at which you can more or less fake actual rigging practice and the 'miniaturists' scale, where you have to 'fake' everything in the sense that you have visually correct impression, but no functionality. Having to face this challenge in the not too distant future in 1:160 scale, I will follow that REDJACKET project as well.
 

The lower part of the pilothouse has been completed.  All of the windows are in and the interior finished.  

For the inside of the pilothouse, I used Bates and some photos of Moyie’s pilothouse.  One of the photos of Moyie's pilothouse is below. Note the pea green interior which was prevalent in that locale. 

The box behind the wheel is a compass (and donation box).  A radiator was in front of the wheel on the right-hand side, the lazy bench on the left.  JHC probably had some type of a bench, but since it was not an overnight boat, the bench did not have to double as a bed.  Again, I used a radiator as I never saw a chimney for a pilothouse stove.  Radiators were appropriate for that time period.  

A few shots of the finished product are below.  


I used dry transfer lettering for the nameplate. A shorter boat name other than J H Crawford would have been easier on the nameplate. 


The next step is the challenging roof.  I can assure you that beast will take some time and multiple versions will be made before the final product is created. 

 

Well, hand-cranking is what moves any manual milling machine or lathe. For some milling machines you can buy electric drives for the x-axis (or make one yourself), but this is for long, end-to-end surface cuts only. The other option is CNC, which requires a lot of programming and typically is not worth it for one-of parts (you end up making several trial parts before all parameters are set righ).
 
I never worked with a MF70, only played around on it in shops, but have the feeling that the hand-wheels are too small for the pitch of the lead-screws. Personally, I would replace them with slightly larger ball-handle cranks, which give you a better feel when doing precision work. In that way you also get rid of the sloppy, turning handles that are detrimental to a good feel of what is going on at the milling cutter.
 

I am using a similar technique for ice as for water that I developed back in the early 1980s or so, albeit with somewhat different materials available then.
 
Basically I glue a sheet of acrylic (perhaps 2 or 3 mm thick) onto a wooden base. There is a cut-out for the (waterline-)model, which has to extend beneath the waterline by the thickness of the acrylic glass.. This wooden base has been painted appropriately to represent the water under the ice-sheet. The acrylic glass is then given a coat of acrylic gel-medium to represent the somewhat irregular water/ice surface. Snow on the ice can be represented by glueing 'micro-balloons', crushed glass (can be bought in hobby stores I think - my supply still comes from my teenage railway model days), or crystalline sugar(!) onto it. This is a good strategy for closed ice-sheets or what is called 'pancake' ice. If you want larger ice-floes, you have to glue with acrylic gel-medium very thin pieces of broken glass (use gloves and pliers and goggles) or acrylic glass before covering everything in the gel-medium.
 
Below is a scene of a Zuiderzee-botter frozen-in that I created some ten years ago:



Unfortunately, I don't seem to have taken pictures of the actual process.
The scene was based on this picture that I took in Enkhuizen in 2009:

It is, indeed, important to study photographs of the situation you want to create.

Didn’t I mention in an earlier reply that those scraped and oiled/varnished strakes were common in N-Europe between the 1820s and 1860s, when all black became the fashion. Norway may have held on longer to the old fashion.

Your metal work looks just so good and convincing 👍🏻
 
If I am not mistaken, Tufnol is a kind of cotton-fabric reinforced phenolic resin (Bakelite). It also goes by the trade name of Novotex, for instance. It is normally a kind of reddish mid-brown. It is light, wear-resistant (in the former GDR car-make Trabant, some of the transmission gears were made from it, as well as parts of the bodywork), and weather-resistant. On yachts, block-sheaves and -shells are made from it.
 

Your metal work looks just so good and convincing 👍🏻
 
If I am not mistaken, Tufnol is a kind of cotton-fabric reinforced phenolic resin (Bakelite). It also goes by the trade name of Novotex, for instance. It is normally a kind of reddish mid-brown. It is light, wear-resistant (in the former GDR car-make Trabant, some of the transmission gears were made from it, as well as parts of the bodywork), and weather-resistant. On yachts, block-sheaves and -shells are made from it.
 

Actually, nail-polish smells aromatic not toxic - the son of organic chemist talking
 

No, they were running all the way through because they are, as I said earlier, structural parts that strengthen the hull at deck level.
 
The scuppers are lead or copper pipes of around 2" internal diameter that lead from the corner below deck and the outboard, probably somewhere above the wale, say 1 to 1.5' below deck level.
 
There would be different ways of simulating these scuppers:
- The simples way would be to drill an appropriately sized hole, chamfer it a bit with a burr and then turn a soft pencil in the hole to simulate the lead - good for small scales.
- Drill hole as before and insert a piece of cored solder wire from both ends; the core has to be bored out with an appropriately sized drill; flare out the ends.
- There are small copper sleeves on the market that would be crimped over electrical wire instead of soldering; use instead of the solder wire; they can be found in electronics shops.
 

Actually, nail-polish smells aromatic not toxic - the son of organic chemist talking
 

Keep in mind, that there are now two fundamentally different types of nail-varnish: the traditional, organic-solvent based one and the newer, acrylic emulsion-based ones. Both require different solvents.
 

Your metal work looks just so good and convincing 👍🏻
 
If I am not mistaken, Tufnol is a kind of cotton-fabric reinforced phenolic resin (Bakelite). It also goes by the trade name of Novotex, for instance. It is normally a kind of reddish mid-brown. It is light, wear-resistant (in the former GDR car-make Trabant, some of the transmission gears were made from it, as well as parts of the bodywork), and weather-resistant. On yachts, block-sheaves and -shells are made from it.
 

Thank you. 
 
More metalwork, this time the gammon & cranse irons, & installing the portholes. 
 
The 'glass' was the right thing to do, & the effect of the reflection heightens the depth relative to the hull line. Thanks for the frank advice, it was good.

 
The cranse iron done & on the end of the bowsprit, it's some tube, capped & with flanges. It's unusual to have the end capped, but looks good.

 
The gammon iron is a bit more complex. Here's the actual:

 
I had to cut some strips off 0.8mm sheet, then do 90º bends around a suitable rod.

 
Adjust to square:

 
The back-cut v joints for the 90º folds:

 
Soldered:

 
Then the brackets that take the bow rollers, plated etc. The rollers are tufnol I think, so they are coloured brass.

 
And installed. The bracket at the top still needs a 'bolt'. The bowsprit on the actual boat is (what we call) Oregon Pine, I think is actually called Douglass Fir, so mid orangey brown, the scale one is Limewood, with enough coats of shellac to get the colour.

 
thanks all, 

I have been tinkering with this project in between more pressing tasks, with my rendition of the Muscongus Boat taking most of my modelled time. I think I now have drawings of all of the shaped parts (but not those that go into the boat as straight stock), though some cannot be reconstructed from the card model to full accuracy. Those will need to be shaped over-size and then slimmed down to fit. What I have is enough for preparing a materials list, which is the next important step.
 
As I proceeded, I discovered errors in the drawing I posted two weeks ago, so I have corrected those and extended the stem to the intended height of the building board:

I aim to make that much out of cherry, to give me something more solid to work with than basswood. The hog is made of a single plank (though bevelled for the bearding, then bent to match the keel and wedge) but the apron and deadwood pose more problems, which cannot be fully solved from outlines of the parts of the card model. They are sided 5 inches (full-size) and have to be large enough in moulding to reach inboard of the bearding line -- though how thick that means won't be sure until I can run a pattern around moulds. So far, they look like:

I don't fancy buying a piece of cherry large enough to get out that thick, curved deadwood, so I will resort to my stash of scraps of tropical hardwoods and hopefully find something more than large enough.
 
Next up: Materials list and then an order for the needed wood.
 
 
Trevor

1:192 is going to be an interesting scale for a rigged model. It sort of falls between the scales at which you can more or less fake actual rigging practice and the 'miniaturists' scale, where you have to 'fake' everything in the sense that you have visually correct impression, but no functionality. Having to face this challenge in the not too distant future in 1:160 scale, I will follow that REDJACKET project as well.
 

Timber !!!!!

I had a quick look at my photographs of her in the museum and that is exactly the arrangement:

One can only guess that the helmsman stood behind the deckshouse and 'rained his horses' from there with the endless tackle.

Use fast-drying solvent-based varnish to secure knots etc. Not as messy as CA cement and can be softened any time with the appropriate solvent or acetone.
 

Timber !!!!!

Sitting on that pin must not be very comfortable …

I had a quick look at my photographs of her in the museum and that is exactly the arrangement:

One can only guess that the helmsman stood behind the deckshouse and 'rained his horses' from there with the endless tackle.