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druxey

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Everything posted by druxey

  1. If you are using a jeweller's drawplate, it won't work for wood. It's designed to squeeze wire to thinner diameters. Get yourself a Byrnes' drawplate from Model Machines. That is made specifically to shave wood.
  2. But you've made the block, Michael: it's the cylinder head that's needed! Seriously, a few days off now and again ain't a bad thing.
  3. Acrylics are soluble in alcohol, so presumably the alcohol content in polyvinylalcoholic (white) glue, will dissolve the finish sufficiently to form a good bond.
  4. With the rabbeted edge rather than a bevel, how do you transition to the gain fore and aft, Lee? Looks like Lee Valley Tools got you! Very nicely done.
  5. The quoin is the wedge under the rear of the cannon, Siggi. There were 18 pounder guns cast to the Blomefield pattern that were 8' 0" long, but only after 1787, so that isn't the answer, now that I looked it up!
  6. Perhaps shorter cannon of the same calibre were used?
  7. Usually the guns would be secured with the muzzles hard up against the deck clamps, just above the port openings. (The quoins would be removed to do this.)
  8. Gill is a cherry-picked version: there is much information that is not there, when compared to the 1794 Steel two-volume edition. However, is expense is a factor....
  9. Nice description you hunted down, Ed. So, turpentine was part of the paint formula, but not enough to flatten the finish. Boiling assisted in polymerizing the 'paint oil', which I assume was linseed oil.
  10. Bravo, Alex! Too bad the bearing detail will be hidden soon.... Don't forget a good dose of grease.
  11. With all due respect to Lees and yourself, Dan; Steel (Rigging and Seamanship, Volume I, page 190) gives the sequence of rigging for topgallant masts as shrouds, standing backstay, then stay. Great job on the jib traveller!
  12. That seems strange, Richard. I assume that it really is copper that you have there. Perhaps someone else can suggest what is going wrong.
  13. I agree with you, Alan! I'm no fan of megastores either (as you could probably tell).
  14. You might try that big, ugly Pro Bass shop in the new mega-shopping centre at Glendale and the QEW.
  15. Are all the surfaces clean of all dirt or grease? Are the surfaces in close contact? These are the two most common causes of joint failure.
  16. You are a brave man: carving those rails already in place!
  17. Bee-ootiful, Ed! Your comments on 19th century paint are interesting. I agree that oil based paints dry to a glossy finish, but the addition of turpentine as drying agent will tend to flatten the finish somewhat. Without drying agents in the paint, the film would take weeks if not months to polymerize, i.e. 'dry'. I imagine that the shipyard would have used some turpentine in their paint mix.
  18. There are many good books on period rigging. Underhill is certainly one. Another you might consider is Longridge's Cutty Sark.
  19. Lovely work, Siggi. You've trained your workers well. Prost!
  20. Picking will clean off corrosive flux by-products as well as oxidation on the parts.
  21. If sails were to be bent to the square yards, one would need the usual assortment of blocks for buntlines, clueless and leechlines attached. Also there would surely be footropes. I believe there were also jackstays fitted during this time period. Presumably there would be mast hoops and brail blocks for the fore and aft sails as well.
  22. Also, look at the Gallery of Contemporary Models on this site, the model of Trial (page 2). This collection of photographs by members of models in museums is an invaluable resource and inspiration.
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