Dida

While resting of my first scratch build, I am planing to start another ship of the same type. During the building of the previous ship I learned something about it. This time I will not start with real works until I completely finish the drawings.
I started with modeling the hull using DelftSHIP Free.
 

 

 

 

 

 
This is, at this moment, the idea how the ship will look like. It will be changes until I choose final version.

That is great. Now, all we need is one here where I live.
 
Russ

The next operation is sanding. A lot of sanding.
 

 

 

 

 

 

Wow! This is a tool!

Hi, Sinan!
Did you get tired like me with all those frames? I put my model little bit aside.

I am impressed with your way of shipbuilding. Beautiful, really beautiful!

The deck will be beautiful!

That is why I love this forum. Good idea, I also need this "plant".

Thank you Russ!
 
Augie, also explained by an private message what was CA. This is not for the first time that I hit "linguistic barrier". But I am young, I learn fast. Everything will be fine.

here you go Sjors
 

 
thats what you meant wasnt it  
 
(just kidding my friend no one would ever push that button )

Hull construction
 

 



 

Nenad, all points you put on the paper are important to me, also. I would add one additional: no time limitations! I work only when I am in good mood.

Hi, Nenad!
Nice build, this will be beautiful ship.

I tried this. Great idea, Stelios. But I did not solve the removal the excess of the wax as good as I wanted.
 
On the lower side of the jar cover I put a piece of balsa wood, 5 mm thick, to remove excess of the wax. I slipped the thread through balsa wood with an needle. I did not make a hole with a drill.
 

 
Some wax was also removed outside of the jar cover:
 

 
Here are thread guides:
 

 
Finished line:
 

Very instructive building log! I will use it as the tutorial. Beautiful ship!

So we can agree Elmir's bracera is the lug rigged single mast bracera.
I like this Wikipedia!

So we can agree Elmir's bracera is the lug rigged single mast bracera.
I like this Wikipedia!

Hello Elmir,
 
Don't worry, I'm no expert on sails either.
 
I found this article on Wikipedia. http://en.wikipedia.org/wiki/Bracera
It shows pictures of the sails used on the different types of Bracera's.
 
I'm sorry Wayne, but I think Andy is right.
 
Take care,
 
Anja

hello progress of the model  
 
                 
rekon54
..............

Ed,
 
I wasn't aware of that book, but thanks for letting me know.  It sounds like that is exactly the sort of information I should be using, but unfortunately I'm not able to get access to a copy.
 
 
Dida,
 
These are the add-ons I've used most frequently:
 
Curviloft  (available here: http://rhin.crai.archi.fr/rld/plugin_details.php?id=674) is used to generate a smooth, curved surface.
 
Bezierspline (available here: http://rhin.crai.archi.fr/rld/plugin_details.php?id=34) is used to generate a number of different types of spline curves.
 
Joint Push Pull (available here: http://rhin.crai.archi.fr/rld/plugin_details.php?id=719) is used to offset a curved surface by a defined distance (for example, adding in planking that is X inches thick).
 
SU2KT (available here: http://rhin.crai.archi.fr/rld/plugin_details.php?id=423) is used to export the Sketchup file for rendering with Kerkythea.

Hi, Elmir!
I am glad to find you here, too! The build is already beautiful.

Arrrgh, just wrote a bunch of stuff and lost it with an accidental 'page back' hit ... time to start previewing at the end of each sentence, lol.
 
Ok, let's try this again.  What I have discovered in my limited experience with waxing lines for rigging is as follows;
 
Thicker lines - best if the wax is melted into it as the run through method won't infuse the 'core' of the line with wax, thus the 'stiffening effect' won't be as pronounced.  By melting the wax into the core of the line (and squeeging the excess as much as possible) it becomes 'stiffer' so that you can achieve the 'taut line' effect without having to put a lot of tension on the line.
 
Thin lines - work well with the run through method.  You can also use the melted wax method but here is where getting rid of the excess becomes more important as thin lines show the excess more (flakiness, lumps, etc.).  One technique I borrowed from Batik is to have an iron set to low and a bunch of newsprint sheets.  Run the line between newsprint sheets under the iron, the weight of the iron should be enough to squeeze excess meltwax from the line and it soaks into the newsprint to prevent it from 'reapplying' itself to the line.
 
Synthetic lines - I've used both methods on nylon lines and found that the same principles apply, the thicker the line the better to use the meltwax method.  Another thing I did with the thin lines to 'seal' the wax was run the waxed line through a cloth pad but I applied more force and ran it fast to generate friction heat.
 
The type of wax is important too.  I avoid Parrafin wax (basic candle wax) because it has a low melt point, is very 'grainy' when cooled and is usually mixed in huge industrial vats with all kinds of chemicals added.  Often with cheap Parrafin you're find a high glycerin content or the traces of perfumes from a previous batch.  
 
Beeswax is my preferred fave because of it's 'natural' origins (not Organic, if anyone tries to sell you 'Organic' honey or beeswax at a marked up price laugh at them ... bees don't create 'organic' stuff by definition).  Beeswax also has a higher melting temperature and is finely grained, which makes it more supple when cool.  Plus it smells good (aromatherapy) and it has a nice colour which tints white lines ever so slightly.
 
Microcrystalline wax (a.k.a. Jeweller's wax) is also a preferred one for me.  It comes in white or dark blue - Don't use the dark blue stuff as it is formulated for sculpting jewellery 'castings'.  Microcrystalline wax has a high melting point, is (as the name implies) very fine grained and it's supple when cool, like beeswax.  This kind of wax is often used in very fine Batik work.
 
So to summarize, I used both methods and found them to be good - once I figured out the specifics.
 
Hope this is of some help.

Hello everyone, I am new here. I am also a jeweler, about 15 years now. Soldering silver and gold jewelry is something i have been doing long time. With silver for example you can't really do a pinpoint soldering. I mean you have to heat up surrounding areas of the spot you are trying to solder together. So I use a larger torch, slightly more oxidized versus gold soldering, where you can do pinpoint soldering. There are different types of solder out there. I stock easy, medium, and hard. For example I use medium and hard for soldering rings, and easy is used for soldering chains and smaller thinner objects that should not be heated too much. I never used the solder/flux mixter or paste. I use liquid flux. First make sure you clean the item you will solder in an ultrasonic machine if you have one, if not, then the least should be done is some concetrated cleaning solution and use an old toothbrush. Then dry and flush the item and a piece of solder. Place the solder belof the item and heat from the top or vice versa. Whichever way you like to do it.
 
But I have read the posts from others and I see everyone does it different. Its all up to you to find the best way that works for you when it comes to soldering. I am still learing things when it comes to that.
 
Its easy, with silver you pretty much have to heat the whole item or at least the majority of the surrounding areas. With gold just the spot you need to solder together.
 
Sorry if i overdid on this

Ensure the work surface is thoroughly clean.  Also, ensure the two surfaces to be soldered MUST be touching.  Unlike low temp soldering, silver solder does not bridge the gap. 

Dida:
When soldering the deadeye strops, do the soldering before the deadeyes are inserted. That way, they do not get burned. The strops should be flexible enough after annealing and soldering that you can easily slide the deadeye into the strop and then squeeze the strop around the deadeye.
 
Russ