EdT

Nice work as usual, Gary. Making that functioning steering gear was one of the tasks I enjoyed most in building Naiad. Trying to remember how I joined those loose ends at the wheel spindle - time flies. Ed

Hi Randy, Thank you for remembering that the List Of Dimensions takes priority. I assume you are referring to the aft frames 43a, 44a, 45a, which indeed show 2nd futtocks at 12" in conflict with the LOD that specifies these at 11" - a good example of why dimensions should be shown in only one place. I probably could not resist putting sizes on the pattern sheets for clarity and ready reference. A trap. Because the LOD was created directly from my sources before making any drawings, using those dimensions is probably best - in this case and in general. The difference on these pieces is slight ( 1" = .013") and I believe they will be planked over. I cannot recall what I used, but would not be surprised to find it was the drawing dimension. Thanks for raising this point. Keeps me honest. Ed

I will take a look later this morning, Randy. Stay tuned.

Slackwater, I believe the text is quite clear on this. The futtocks should not be sided until after assembly if you are using this method. To quote from Ch 5: Although frame components diminish in siding from bottom to top, all of the pieces should be cut from stock that is the thickness of the lowest parts, the floors or the lower futtocks. This will allow the frames to lie directly on the pin board without spacers under the upper parts during assembly. It will also provide an accurate basis for beveling. The sidings are smaller toward the ends of the hull, so check the List of Dimensions. The upper futtocks will be cut back to their correct sidings after beveling and removal of the patterns. The initial toptimber sidings are an exception. On the finished model, they will be prominently lined up along the main deck where any small difference in size will be very noticeable. You will recall the quality criteria relating to uniformity of similar parts. All of these toptimbers, two on the forward frame of each pair, should be cut out from 9” thick stock to ensure their identical width. These will be attached after the other parts of the frame are assembled. Ed

My preference would be to have you post questions here on the build log so that others may benefit as well - and offer answers and comments as well. I keep an eye on this daily. Ed

Isopropanol is very quick and effective loosening pva glued knots - and very fast. Ed

Hello Bob, Thanks for your comments. The splice shown in the first photo is one of many hundred used to lash one end of the ratline to an end shroud. the other end is made the same way but has to be made in place. I described this is the YA build log and in more detail in the book. In this case the loop is made by passing a needle through the rope then pulling it tight over a pin as shown in the picture. On these there is no wrapping below the joint. The contact between threads, plus the glue is sufficient. To finish the splice the short end is clipped off very close to - right at - the main part. On larger joints of this type some of the short end may be slightly wrapped and pinched to the main leg so when cut it shows some splice width. But in all cases of this type the glue is doing the work. I use normal yellow glue for hemp and darkened glue that dries almost black for tarred standing rigging. Because I wanted to lash the ends of the ratlines to the shrouds in a realistic manner, a method to make many small eyesplices was needed and that led to this. It worked well enough to be used on larger ropes for the many splices in the running rigging where there is more stress on the lines. The ratline fixture shown in the picture puts tension on both legs, avoiding any kinks at the splice. The method works very well in place where an eyesplice fits over an eyebolt or other point on the model. I usually pull the long end through in this case. I thin this adds some strength. This type of splice is used on small rope, sizes 40 to 100 of the crochetting thread that I use. This right-handed thread simulates rope very well. For larger sizes, usually made rope, a different process is used. I think all this is described in the build log and certainly in the book. Ed

I had some doubts about using emulsion glue (PVA), or matte medium (acrylic) to secure rigging when I started the rigging job on Young America. At 1:72 or 1:96, glue of some sort is essential. These doubts were completely dispelled, rescuing me from the ordeal of using CA for anything except stiffening rope ends to thread through small holes. Making strong eyesplices (perhaps a thousand or so) in the smallest thread sizes was a daunting prospect. The pictures below show the method used and to my mind represent an acid test for the Titebond wood glue that I used. The only connection on these splices is the passing of the rope through itself, so there is no knot and the strength of the joint is due primarily to the glue. I can think of only a few failures of these splices in the entire model. The first picture shows the forming of a splice in size 80 cotton thread by passing a needle through the rope to form the splice, in this case the rope passes through a shackled eyebolt. The next picture shows such a splice in place in the rigging - under some tension. The next picture shows a splice of this type being glued in a special fixture used for making the 100's of ratline splices. I have not tested the strength of glue vs. matte medium, but I used glue. Both are aqueous polymer emulsions and can be diluted with water. The acrylic medium is formulated to modify coatings, mainly artist acrylics, or to act as a coating itself. PVA is a glue. While I expect that either could be used to seal knots, I believe that the PVA, Titebond in this case, will be stronger where the glue provides primary strength, as it does in these splices. Also, I believe in these cases, less dilution is more appropriate than in cases where the role of the emulsion is merely to prevent knot loosening. I would also add that these materials will be most effective on natural fibers - cotton or linen, and less so if at all on synthetics like poly ester. So, except for stiffening rope ends to pass through small holes, I believe CA is unnecessary in rigging. A welcome conclusion for those of us, like me, who hate using it. Ed

Thank you for posting these, Steve. Having converted the posts relevant to the masting and rigging that were included in Volume 3, I know what a job this is. I hope YA 1:96 modelers - and potential modelers - will find these a useful supplement to the book. Good job. Ed

I continue to get inquiries about the drawings included with the three Volumes of the book, so I have attached a listing of all the full sized drawings. This is actually an Appendix in Volume III. Most of the questions relate to the baseboard plans, Dwgs 2B and 8B that are missing from the packet because they are included as printable pdfs on the CDs. This is so soiled or damaged baseboard plans may be replaced. Note that a misprint on p 227 of Vol I also contributes to the confusion by specifying the base plan as Dwg 11. This should read Dwg 8b. Dwg 11 is a different plan included in Vol II. Sorry for this mistake.Appendix 2 - Drawing List.pdf

I worked on fairing the lower hull progressively as availability presented itself. Whereas I am particular about sequence in many areas, I think this fairing process can be subject to your judgement - whenever you think the framing can take it. I had only light sanding to do. In looking back at Vol I, its clear I did not think the timing of this to be critical. I probably did some after bolting on the lower half frames and more later. I'd say the lower hull should be well faired and finish sanded by the time you get to cutting the limber channels Ch 12. Fairing the top timbers is covered in Ch 11. I am pretty sure I had done the entire hull by the time I got to the the top timbers. As for the copper bolts, after the glue has dried the ends may be filed flush. After that, they should not impede your sanding or tear up the paper, but I believe I had finished fairing before the external bolting described in Ch 8 (pp 99-100), then did more finish sanding after that..

Randy, you will have to use your own judgement in this. If you have beveled the frames before erection as I did, and recommended, the amount of hull sanding should be primarily smoothing - and minimal. The forward cant frames may be an exception and I described the sanding I did in the book. However, if you have left the frames rough, more sanding will be required. There is a grey area. The softwood spacers between frames should provide enough strength to support sanding (120 grit?) but maybe not if it needs to remove a lot of material. Once these spacers are in place you should be able to sand. You should be able to do some sanding right at the base of the half frames once you have fitted the "functional" copper bolts, but the spacers will be needed for sanding further up. I know there is a hesitance to pre-bevel frames. I think this is because most model frame patterns are not precise with three profiles - forward, joint line, and aft - both on the internal and external sides on the YA patterns. Because the method I used to draft the frame patterns, these are highly accurate - enough for pre-beveling. This mimics how real frames were beveled before setting. Because this was the first time for this, I was conservative at first, leaving slightly more stock for post-erection beveling. Ultimately, I found this unnecessary and actually an obstacle to precise frame erection. Perhaps you found this as well. My advice - use your judgement. Its part of the process and of the experience. Cheers, Ed

Thank you, Will. I appreciate your comments. I have been a long-time used of a product called Homasote. It is a dense compressed paper product sold mainly for soundproofing. It initially found use for hobbyists as model railroad track base. It holds pins well - and track spikes. I would search online for it. Lowes and/or Home Depot have carried it recently, but a general search may yield other sources. I do not know of a good substitute and have relied on it for years. Let me know what you find. Ed

Beautiful work, Chuck! Ed

Nice, creative technique, Tom. Thanks for sharing.