wefalck

I just noticed that when re-creating the building log from MSW 1.0 I missed out part of the work. Perhaps because it concerns some small and delicate parts that look simple, but are not so easy to manufacture at this scale.
 
 
Well, the smithy of the boatyard has been busy and turned out various pieces of ironwork for rigging and other purposes:   The mast is held in its tabernacle by a latch hinging on eyebolts.   Mast tabernacle   There is a complex piece of ironwork that guides and holds down the running bowsprit (which will not be shown on the model, as it was normally left home during the winter season, when a reduced rig was used). The ring was turned from a piece of brass rod, while stay was fashioned from a piece of steel rod on both the lathe and the mill, as it has partially a square section. In fact, various parts of the ironwork do have square sections, inter alia to prevent them from turning, or because they have made from square bar, hammered to a round cross-section where needed.   Bowsprit guide   The leeboards are held by sort of square rings that slip over the leeboard-bollards. These rings were made from brass strips soldered together and filed to shape. The leeboard pivots on a bolt that is held by these rings.   Various ironwork   A major challenge were the various belaying and thole pins. On the prototype their maximum diameter is just under 40 mm, the cylindrical sections generally being around 20 mm. So, in the 1/90 scale this means they are 0.2 to 0.4 mm in diameter, with a length of 3 to 4 mm. There are five different types and the literature (VAN BEYLEN, 1995; DORLEIJN, 2001) gives the typical dimensions and shapes for each them. Turning them from the available brass was impossibe, so that 1 mm steel wire was used as starting material. Even then turning them flying, i.e. supported only in a collet in the headstock proved impossible. This lead to the design and manufacturing of a tailstock-held micro-steady. The spherical parts on the pins where shaped free-hand using files and strips of abrasive paper.   Belaying pin   Specially made micro fixed-steady for turning small slender items on the watchmakers lathe.     wefalck

I am using a piece of thick cardboard on which I put the sail drawing. The whole then is wrapped in clingfilm, making sure no creases appear in the area of the sail(s).
 
wefalck

I just noticed that when re-creating the building log from MSW 1.0 I missed out part of the work. Perhaps because it concerns some small and delicate parts that look simple, but are not so easy to manufacture at this scale.
 
 
Well, the smithy of the boatyard has been busy and turned out various pieces of ironwork for rigging and other purposes:   The mast is held in its tabernacle by a latch hinging on eyebolts.   Mast tabernacle   There is a complex piece of ironwork that guides and holds down the running bowsprit (which will not be shown on the model, as it was normally left home during the winter season, when a reduced rig was used). The ring was turned from a piece of brass rod, while stay was fashioned from a piece of steel rod on both the lathe and the mill, as it has partially a square section. In fact, various parts of the ironwork do have square sections, inter alia to prevent them from turning, or because they have made from square bar, hammered to a round cross-section where needed.   Bowsprit guide   The leeboards are held by sort of square rings that slip over the leeboard-bollards. These rings were made from brass strips soldered together and filed to shape. The leeboard pivots on a bolt that is held by these rings.   Various ironwork   A major challenge were the various belaying and thole pins. On the prototype their maximum diameter is just under 40 mm, the cylindrical sections generally being around 20 mm. So, in the 1/90 scale this means they are 0.2 to 0.4 mm in diameter, with a length of 3 to 4 mm. There are five different types and the literature (VAN BEYLEN, 1995; DORLEIJN, 2001) gives the typical dimensions and shapes for each them. Turning them from the available brass was impossibe, so that 1 mm steel wire was used as starting material. Even then turning them flying, i.e. supported only in a collet in the headstock proved impossible. This lead to the design and manufacturing of a tailstock-held micro-steady. The spherical parts on the pins where shaped free-hand using files and strips of abrasive paper.   Belaying pin   Specially made micro fixed-steady for turning small slender items on the watchmakers lathe.     wefalck

Continuation in small and sometimes tedious steps.
 
The sails were further completed by adding cringles and eyelets. For the cringles the sail was punched with a needle to simulate the eyelets. A piece of 8/0 yarn was threaded through, twisted with itself and secured with a blob of lacquer. The free ends were threaded cross-wise through the second eyelet and secured with knots. The cringle was secured with a bit of lacquer. For eyelets in the sail itself blobs of acrylic gel were set on both sides and once dry punched with a needle. 
 

Sails ready to be painted
 
The foresail runs on small iron hoops along the forestay. These were reproduced by small rings of copper wire that were sewn to the cringles using 16/0 size yarn (Veevus, http://veevus.dk]http://veevus.dk).
 

Hoops of the foresails
 
There are various eyelets in the sail, e.g. for reefing points. These were immitated by a drop of acrylic gel medium glue on both sides of the sail that later was pierced with a needle.
 

The painted sails
 
The sails then were checked for any joints having come loose and more wood-filler was applied if needed. Now the sails were ready for painting. The original sails were tanned. Hence, a terracotta colour ('terre' by Prince August Air, http://www.prince-august.net) was chosen as the base colour that was applied with an airbrush. Once on the model some weathering and shading will add more plasticity. The eyelets etc. were ‚metallised’ by turning a soft lead pencil in them.
 

’Sailmaking’ tools
 
wefalck

The actual painting proceeded with Schminke-, Vallejo- und Prince August-Airbrush paints, but of course using very fine (10/0 and 5/0) brushes.
 

The painted skipper
 
But I had to fight with the brushes. The art materials department in the famous Bazaar de Hotel de Ville (BHV, www.bhv.fr) which has the best DIY department in Paris wasn’t the same anymore after a recent revamp. It turned out to be very difficult to find such fine brushes in Paris, but I needed to replace some worn out ones. Eventually I ordered some via ebay in Germany. Their rather fat three-sided handles looked as if they would be very comfortable, but their turned out to be really ‚rat-tails’. I gather you get what you pay for. Also: one should really try the point in the shop, which is obviously not possible when ordering through mail.
 

The back of the painted skipper
 
The painting technique was largely the same as for bigger figurines. However, at the 1/90 scale one needs to simplify, particularly when painting the faces. Thus, the eyes were indicated only by the shadows beneath the eyebrows. This I learned from Canaletto, who was able to render a very lifely population in his Venice pictures with just a few strokes of his brush. The effect is calculated form normal reading distance – on your computer screen the 18 mm high figures appear several times magnified. Painting the faces in acrylics was an experiment. The open time of these paints is just too short for painting soft transitions and I will return to artist’s oils for this.
 

The painted mate.
 
Photographs show you the coarseness of your work glaringly. Observed from normal reading distance, I believe, the figures look quite convincing.
 

The painted mate from the back.
 
The scenic setting will be eventually populated by a boy belonging to the botter, a Volendam couple enjoying a walk on the dike and another couple, where he is pushing her in a sledge on the ice.
 
wefalck

The work on the model is frequently being interrupted by travels and other activities, e.g. working up the pictures taken during my travels.
 
It continued with the painting. The actual painting is a rather complex procedure and I have not documented all intermediary steps. 
 

 
The first step after the base-coat was to apply a coat of nitrocellulose-based wood varnish in oak. The idea was to simulate to some extend the surface treatment of the real wood, though with somewhat different materials, in order to create ‚depth’ of the wood surface. I used this method successfully in the past on small parts. Here, however, the problem arose that a second coat or touching up would dissolve the first coat. On the next model I will apply the varnish by airbrush or use an acrylic varnish.
 

 
The varnish was cautiously matted with steelwool and a glas-eraser pen. Then the wale and the registration board were painted in black acrylic. The registration number was painted freehand in white acrylic. The next step then was a juidicious weathering/washing in burnt umber acrylic to simulate the surface treatment with Stockholm tar. In order to simulate the coal-tarred underwater body burnt umber was applied in more covering layers.
 

 
Individual parts, such as the spars, the leeboards, the rudder etc. were treated in a similar way. In oder to achieve a uniform degree of matt-ness, everything was coated lightly with the airbrush in Winsor&Newton matte acrylic varnish.
 

 
White, beige and black pastels were applied with a brush and Q-tips to simulate grime and salt. The quarter deck and floorboards also attain in this way a nice greyish worn appearance.
 

 
The various ‚ironwork’ received a base-coat in black acrylic with the airbrush. Then a mixture of ‚metallic rust’ (Prince-August Air/Vallejo) and burnt umber was then applied with a brush. The parts thus receive a certain patina – in real life they were painted black, painted in lineseed-oil or left bright. On places were the ironwork would have been bright from use a soft pencil (6B) was rubbed, which results in a subtle metallic sheen.
 

 

 
 
wefalck

Continuation ...
 
The cast mast was nicely done by Artitec - in principle, but was too short for a boat of this size, did not have the right chocs for a boat from Marken and above all was warped. A new mast was fashioned on the lathe from a piece of steel rod - I did not have suitable stock of boxwood or similar and brass, aluminium or plexiglas would have not been stiff enough. The mast was turned in steps on the watchmakers lathe. This also allowed to turn-on the mast bands. It was then transferred to the dividing attachment (http://www.wefalck.eu/mm/tools/dividingapparatus/dividingapparatus.html) on the milling machine to mill on the squares. The various eyebolt and cranes were fashioned from copperwire and soldered or glued on.

 

 

 
As the mast, the boom was turned on the lathe from a 2 mm steel rod. The flexing of the rod was utilised to obtain the taper towards both ends.

 
Again the bands were turned on and the boom was tranfered to dividing apparatus for drilling the holes for eye bolts etc. The goose neck was turned from steel and the square, where it attaches to the boom, milled on using a very small end-mill.

 
The gaff has a rather odd, pear-shaped cross-section. In addition its longitudinal shape is rather crooked. It was fashioned from a piece of brass wire that was tapered off and bent to the right shape.

 
A piece of brass sheet was cut to follow the curve of gaff and hard-soldered to the brass wire. The pear-shape was filled-up with soft solder. Then the claws that were fashioned from brass were soldered on. Finally, the 0.2 mm holes for the line with which the sail is attached were drilled. The gaff was completed with various bands fashioned from partially flattened copper wire.
 
wefalck

The leeboards are cast in resin, but due to the casting process in an open mold, their back is flat and without any sculpting. In reality, they are not just flat boards, but they have a cross-section almost like a propeller. In fact they are hollowed out over some part to create some hydrodynamic lift that counteracts the leeway and also pushes the leeboard against the boat. Using files and diamond rotary burrs the appropriate shape was given and also the separation of the individual boards of which the leeboards are composed were marked out.




There are various belaying clamps distributed around the hull. The kit has photoetched parts for these, but somehow they appear rather flat. In addition some or all of them would have to be of the single-horned variety, rather than the more common double-horned one, as
forseen in the kit. Replacements were milled raw from a strip of brass and sliced off on the lathe. They were finished using the hand-held power-drill using small grindstones and polishers.


 



Again, the casting of the hull is nicely done, but Artitec were a bit overenthusiastic in depicting a rather worn state. If there were such big gaps in the hull, the boat would sink to the bottom of the Zuiderzee like a sieve. To counteract the rather rustic appearance, fly-tying silk was glued as 'caulking' into the gaps using varnish.



wefalck

Given the problems with the spill, it was cut completely from the moulded hull in order to be rebuilt as a separate item. Square holes and recessions cannot be easily machined from the solid. Therefore the spill was built up from a number of parts that would allow machining, The
0.5 mm x 0.5 mm holes for the handle bars were cut as slots into a section of 4 mm round brass bar.
 

 
 
The ratchet wheel was cut on the milling machine with a dividing attachment:
 


 
All parts had a 1 mm hole drilled through to take up a 1 mm brass rod. Brass was chosen in order to be able to soft-solder all parts together for the subsequent machining operations and to provide an axle.



 
The cigar-shape of the spill was turned with the Lorch free-hand turning device:



 
The piece was then transfered back to the dividing attachment (http://www.wefalck.eu/mm/tools/dividingapparatus/dividingapparatus.html)
on the mill and the eight sides of the winding drum were milled on.



 
Here the completed spill stem:



 
And installed in the hull:



to be continued ...


Wefalck

The dyke section was covered in a thin layer of wall-repair putty from a tube that I had around by chance. Otherwise, I would have used plaster of Paris mixed with some wallpaper glue, which improves its sculpting behaviour. Once the putty was dry, it was sanded down smoothly and then single bricks engraved by rows with a needle held in a pinvise. The fact that corners broke out of the bricks was approvingly tolerated, as it will enhance the weathered appearance.
 

Baseboard with sculpted dyke
 

Close-up of the engraved bricks
 
In order to reduce the porosity of the putty and the wood the whole surface was treated with cellulose-based woodfiller, before the dyke was airbrushed in English Red (Schmincke AeroColor), while the water area received a basecoat of burnt umber, partly mottled with black. In a next step individual bricks were picked out with blue and brown washes to enliven the dyke surface. Since the acrylic paints dry satin, the whole was lightly sprayed with Winsor & Newton acrylic matte varnish. A restrained weathering using artist’s pastels followed.
 

Painted baseboard
 

The brick surface of the dyke
 

The model of the botter in place
 
wefalck

The actual painting proceeded with Schminke-, Vallejo- und Prince August-Airbrush paints, but of course using very fine (10/0 and 5/0) brushes.
 

The painted skipper
 
But I had to fight with the brushes. The art materials department in the famous Bazaar de Hotel de Ville (BHV, www.bhv.fr) which has the best DIY department in Paris wasn’t the same anymore after a recent revamp. It turned out to be very difficult to find such fine brushes in Paris, but I needed to replace some worn out ones. Eventually I ordered some via ebay in Germany. Their rather fat three-sided handles looked as if they would be very comfortable, but their turned out to be really ‚rat-tails’. I gather you get what you pay for. Also: one should really try the point in the shop, which is obviously not possible when ordering through mail.
 

The back of the painted skipper
 
The painting technique was largely the same as for bigger figurines. However, at the 1/90 scale one needs to simplify, particularly when painting the faces. Thus, the eyes were indicated only by the shadows beneath the eyebrows. This I learned from Canaletto, who was able to render a very lifely population in his Venice pictures with just a few strokes of his brush. The effect is calculated form normal reading distance – on your computer screen the 18 mm high figures appear several times magnified. Painting the faces in acrylics was an experiment. The open time of these paints is just too short for painting soft transitions and I will return to artist’s oils for this.
 

The painted mate.
 
Photographs show you the coarseness of your work glaringly. Observed from normal reading distance, I believe, the figures look quite convincing.
 

The painted mate from the back.
 
The scenic setting will be eventually populated by a boy belonging to the botter, a Volendam couple enjoying a walk on the dike and another couple, where he is pushing her in a sledge on the ice.
 
wefalck

The actual painting proceeded with Schminke-, Vallejo- und Prince August-Airbrush paints, but of course using very fine (10/0 and 5/0) brushes.
 

The painted skipper
 
But I had to fight with the brushes. The art materials department in the famous Bazaar de Hotel de Ville (BHV, www.bhv.fr) which has the best DIY department in Paris wasn’t the same anymore after a recent revamp. It turned out to be very difficult to find such fine brushes in Paris, but I needed to replace some worn out ones. Eventually I ordered some via ebay in Germany. Their rather fat three-sided handles looked as if they would be very comfortable, but their turned out to be really ‚rat-tails’. I gather you get what you pay for. Also: one should really try the point in the shop, which is obviously not possible when ordering through mail.
 

The back of the painted skipper
 
The painting technique was largely the same as for bigger figurines. However, at the 1/90 scale one needs to simplify, particularly when painting the faces. Thus, the eyes were indicated only by the shadows beneath the eyebrows. This I learned from Canaletto, who was able to render a very lifely population in his Venice pictures with just a few strokes of his brush. The effect is calculated form normal reading distance – on your computer screen the 18 mm high figures appear several times magnified. Painting the faces in acrylics was an experiment. The open time of these paints is just too short for painting soft transitions and I will return to artist’s oils for this.
 

The painted mate.
 
Photographs show you the coarseness of your work glaringly. Observed from normal reading distance, I believe, the figures look quite convincing.
 

The painted mate from the back.
 
The scenic setting will be eventually populated by a boy belonging to the botter, a Volendam couple enjoying a walk on the dike and another couple, where he is pushing her in a sledge on the ice.
 
wefalck

Thanks for publicising my pics 
 
Perhaps the most comprehensive treatment (albeit in Dutch) in literature of the boeier is this one:
 
VERMEER, J. (2004): De Boeier. – 528 p., Alkmaar (De Alk & Heijnen Watersport).
 
The books contains numerous lines drawings, including one for DE SPERWER, if I am not mistaken. Larger versions of these and other drawings are available through the Dutch Modellers' Association: http://www.modelbouwers.nl/tekeningen.php
 
wefalck

Well, not exactly. Brass is an alloy of copper and zinc, while bronze is an allow of copper and tin. While brass usually only contains Cu and Zn in varying ratios (tombak is a high-Cu brass), bronze may have additional components, such as silicium (Si), aluminium (Al) or mangan (Mn) to enhance its corrosion resistance or its properties as bearing metal. In general, bronze typically is more corrosion resistant than brass, which is why it is used e.g. for propellers. 
 
Hardening or annealing brass is just the reverse of that for steel: quenching it after heating will soften it, while letting it cool down slowly will harden it. Particularly bronze can be hardened by hammering  (see bronze age weapons) or pressing it (the Austrians used hardened bronze for their guns, while everyone else switched to steel).
 
wefalck

I guess you are looking for end- or slotting mills. What widith is the slot ? End-mills at a reasonable price go down to 1 mm diameter, but are actually made for metal. There is a limit to the depth of the slot, as the end-mills usually have only a useable length of 3-4 times the diameter. There are also two-fluted carbide end-mills with a diamond cut at the sides, but I believe they are only made down to 2 mm diameter.
 
You would need an x-y-table to be able to do the milling. Pushing end-mills through by hand will sooner or later result in their breakage.
 
Another method would be to drill several holes along the slot and then to chisel out the material in between. You would need to grind your own chisel from a piece of tool steel or modify a small cheap screwdriver. The blade of the chisel should be the width of the slot.
 
wefalck

Contemporary to whom ? To us or the time of the prototype ?
 
Actually, I don't think that bronze (not brass) guns where painted as the material is quite corrosion resistant and develops a protecting patina.
 
Cast iron and steel corrode differently, due to the graphite content in the former. I believe cast iron was often painted on an artificial patina. The controlled 'rusting' means a passivation and a better key for the paint than the bare iron.
 
When steel came into use in the second half of the 19th century, gun had become precision instruments that required a more controlled protection. The browing with vinegar etc. is not just throwing the acid over it, but it was applied carefully, sparing machined surfaces that had to retain their dimensions, such as seats for sightings, elevation mechanisms, or the rifling. However, some navies seem to have also painted their steel guns. In fact towards the end of the 19th century, when grey became ubiquitous, this became the general practice.
 
wefalck

Personally, I don't like sewn sails. Particularly the hems tend to be grossly out of size, as the cloth thickness is way overscale.
 
Anyway, if you do insist to sew, it is helpful to pin (or glue) the cloth down onto a piece of silk paper (the type used to make carbon copies in the age of the typewriter). This prevents the cloth from being pulled out of shape by the machine. It also facilitates sewing a predetermined path (not always straight for sails !), because you can draw the pattern on it. The paper can be ripped out easily after the sewing has been completed.
 
On the same line, I have simulated in the past boltropes by reducing the stitching step to almost zero, i.e. to the diameter of the thread, stitching effectively a beading onto the cloth. The sail was cut out after the paper backing hat been ripped out. The beading can be stabilised with a bit of clear varnish to prevent it from becoming undone.
 
wefalck

Contemporary to whom ? To us or the time of the prototype ?
 
Actually, I don't think that bronze (not brass) guns where painted as the material is quite corrosion resistant and develops a protecting patina.
 
Cast iron and steel corrode differently, due to the graphite content in the former. I believe cast iron was often painted on an artificial patina. The controlled 'rusting' means a passivation and a better key for the paint than the bare iron.
 
When steel came into use in the second half of the 19th century, gun had become precision instruments that required a more controlled protection. The browing with vinegar etc. is not just throwing the acid over it, but it was applied carefully, sparing machined surfaces that had to retain their dimensions, such as seats for sightings, elevation mechanisms, or the rifling. However, some navies seem to have also painted their steel guns. In fact towards the end of the 19th century, when grey became ubiquitous, this became the general practice.
 
wefalck

Frome a late 19th century German source for steel guns: rub down the barrel repeatedly with vinegar. Once a firmly attached brown iron-oxide layer has developed, paint in lineseed oil. To be rubbed down with a cloth soaked in lineseed oil for maintenance. Be sure not let the vinegare etc. into the barrel (particularly in the case of rifled barrels).
 
This seems to implicate that the barrels were of a satin brownish colour, which is also evidenced by contemporary paintings.
 
Cast iron guns, according to the same source were to be painted in oil paint.
 
wefalck

Continuation ...
 
The cast mast was nicely done by Artitec - in principle, but was too short for a boat of this size, did not have the right chocs for a boat from Marken and above all was warped. A new mast was fashioned on the lathe from a piece of steel rod - I did not have suitable stock of boxwood or similar and brass, aluminium or plexiglas would have not been stiff enough. The mast was turned in steps on the watchmakers lathe. This also allowed to turn-on the mast bands. It was then transferred to the dividing attachment (http://www.wefalck.eu/mm/tools/dividingapparatus/dividingapparatus.html) on the milling machine to mill on the squares. The various eyebolt and cranes were fashioned from copperwire and soldered or glued on.

 

 

 
As the mast, the boom was turned on the lathe from a 2 mm steel rod. The flexing of the rod was utilised to obtain the taper towards both ends.

 
Again the bands were turned on and the boom was tranfered to dividing apparatus for drilling the holes for eye bolts etc. The goose neck was turned from steel and the square, where it attaches to the boom, milled on using a very small end-mill.

 
The gaff has a rather odd, pear-shaped cross-section. In addition its longitudinal shape is rather crooked. It was fashioned from a piece of brass wire that was tapered off and bent to the right shape.

 
A piece of brass sheet was cut to follow the curve of gaff and hard-soldered to the brass wire. The pear-shape was filled-up with soft solder. Then the claws that were fashioned from brass were soldered on. Finally, the 0.2 mm holes for the line with which the sail is attached were drilled. The gaff was completed with various bands fashioned from partially flattened copper wire.
 
wefalck

The leeboards are cast in resin, but due to the casting process in an open mold, their back is flat and without any sculpting. In reality, they are not just flat boards, but they have a cross-section almost like a propeller. In fact they are hollowed out over some part to create some hydrodynamic lift that counteracts the leeway and also pushes the leeboard against the boat. Using files and diamond rotary burrs the appropriate shape was given and also the separation of the individual boards of which the leeboards are composed were marked out.




There are various belaying clamps distributed around the hull. The kit has photoetched parts for these, but somehow they appear rather flat. In addition some or all of them would have to be of the single-horned variety, rather than the more common double-horned one, as
forseen in the kit. Replacements were milled raw from a strip of brass and sliced off on the lathe. They were finished using the hand-held power-drill using small grindstones and polishers.


 



Again, the casting of the hull is nicely done, but Artitec were a bit overenthusiastic in depicting a rather worn state. If there were such big gaps in the hull, the boat would sink to the bottom of the Zuiderzee like a sieve. To counteract the rather rustic appearance, fly-tying silk was glued as 'caulking' into the gaps using varnish.



wefalck

Given the problems with the spill, it was cut completely from the moulded hull in order to be rebuilt as a separate item. Square holes and recessions cannot be easily machined from the solid. Therefore the spill was built up from a number of parts that would allow machining, The
0.5 mm x 0.5 mm holes for the handle bars were cut as slots into a section of 4 mm round brass bar.
 

 
 
The ratchet wheel was cut on the milling machine with a dividing attachment:
 


 
All parts had a 1 mm hole drilled through to take up a 1 mm brass rod. Brass was chosen in order to be able to soft-solder all parts together for the subsequent machining operations and to provide an axle.



 
The cigar-shape of the spill was turned with the Lorch free-hand turning device:



 
The piece was then transfered back to the dividing attachment (http://www.wefalck.eu/mm/tools/dividingapparatus/dividingapparatus.html)
on the mill and the eight sides of the winding drum were milled on.



 
Here the completed spill stem:



 
And installed in the hull:



to be continued ...


Wefalck

Jules van Beylen (I think he was the conservator at the museum in Antwerp) has written many books on Dutch/Flemish boats and ships. There is also a monograph on the hoogars:
 
BEYLEN, J. VAN (1978): De hoogaars, geschiedenis en bouw.- 184 p. (De Boer Maritiem). 
 
Most of the books cited above are packed with drawings. Van Beylen's books are actually written for modellers and have very detailed description for building a model in a 1/20 scale. Full size drawings seem to be available separately. Dorleijn's book contains also folded plates, but seems to have become extremely expensive over the past. I have almost all of the books cited in my library.
 
wefalck

Here a couple of interesting books on botters and boeiers, albeit in Dutch:
 
CRONE, G.C.E. (1926): Nederlandsche Jachten, Binnenschepen Visschersvaartuigen en daarmee Verwante kleine Zeeschepen 1650 -1900.- 309 p., 85 Abb., Amsterdam (Swets & Zeitlinger, Nachdr. 1978 bei Schiepers, Schiedam). - with English translations.
 
BEYLEN, J. VAN (1985): De botter - Geschiedenis en bouwbeschrijving van een Nederlands visserschip.- 223 p., Weesp (De Boer Maritiem).
 
DORLEIJN, P. (2001): De Bouwgeschiedenis van de Botter. Vierendertig voet in de kiel.- 168 p., Lelystad (Uitgeverij Van Wijnen ).
 
 
KAMPEN, H.C.A. VAN, KERSKEN, H. (1927): Schepen die Voorbijgaan. Een verzamling Afbeeldingen en Beschrijvingen die de Nederlandsche Binnenwateren bevaren.- 351 p., Amsterdam (A.N.W.B. Toeristenbond voor Nederland).
 
 
OSTROM, C. van (1988): Ronde en platbodems schepen en jachten.- 144 p., Alkmaar (De Alk b.v.).
 
 
SOPERS, P.J.V.M. (196?): Schepen die verdwijnen (bearbeitet von H.C.A. van Kampen).- 162 p., Amsterdam (P.N. Van Kampen & Zon).
 
VERMEER, J. (2004): De Boeier. – 528 p., Alkmaar (De Alk & Heijnen Watersport).
 
wefalck

Given the problems with the spill, it was cut completely from the moulded hull in order to be rebuilt as a separate item. Square holes and recessions cannot be easily machined from the solid. Therefore the spill was built up from a number of parts that would allow machining, The
0.5 mm x 0.5 mm holes for the handle bars were cut as slots into a section of 4 mm round brass bar.
 

 
 
The ratchet wheel was cut on the milling machine with a dividing attachment:
 


 
All parts had a 1 mm hole drilled through to take up a 1 mm brass rod. Brass was chosen in order to be able to soft-solder all parts together for the subsequent machining operations and to provide an axle.



 
The cigar-shape of the spill was turned with the Lorch free-hand turning device:



 
The piece was then transfered back to the dividing attachment (http://www.wefalck.eu/mm/tools/dividingapparatus/dividingapparatus.html)
on the mill and the eight sides of the winding drum were milled on.



 
Here the completed spill stem:



 
And installed in the hull:



to be continued ...


Wefalck