Dziadeczek

Update
 
Mounting the gun barrels on/in the carriages.
 
Karl
 

 

 

 

 

 

 

 

 

 

In addition to the paint quality, very important is the application method. Early Renessance artists used to grind their own pigments by hand - resulting in various sizes granules, hence excellent paint quality, unlike the modern electric mills, which grind everything in the same size powders, resulting in 'boring' look of the paint. Grounding (the way of priming the surface) was also critical. The best was priming using gypsum media - lean, white and uniform, suitable for tempera, egg tempera or oil paints!
One of the great earlier Flemish artists, Johannes van Eyck, devised and popularized egg tempera - a tempera pigment mixed in yolk of an egg - this resulted in one of the most permanent paints, that after half of a millennium still look like they were painted yestarday. (Google "The Portrait of Arnolfini" to see it yourselves in a large resolution).
These artists painted with the technique of "laserunek" (Polish term) - the so called "glazing" - multiple layers, one on top of the others, of exceedingly thinly applied paint, heavily diluted in oil in such a way, that earlier layers were visible through the later ones, coming through. It could be more than 10 layers of a detail in a painting, like various shades of skin, jewelry pieces, fabrics, lace...! The end result was a middle color comprised of all intermediate ones. A painting like this was very intense in color and light - you could see it even in near darkness, it had its own light!
 
Also, in those times, there was a separate profession - people preparing wooden panels for artists - they were made from boards of hardwood attached together (tongue and groove usually) into a required size and grounded with that primer - gypsum powder mixed with rabbit skin glue together to form a thin paste similar to watery cream. Those people produced the best panels for artists (I am talking about the era before artists used canvases, which were used later).
I encourage you to watch the movie mentioned earlier in this thread - "A Girl with a Pearl Earring" - it shows you, among other things, the steps of preparation of the pigments, grounding them and mixing with linen oil, with all the attention to detail. Also, the technique of painting itself is shown. Vermeer Van Delft was one of the most preeminent artist of his times, known for the quality of his works, which can be appreciated and admired today...
One of the mistakes Leonardo made with his "Last Supper", was that he painted it on a dry stucco, instead of fresh, wet one (hence the name al fresco). This resulted in very unstable painting, which quickly started to deteriorate and even today is still deteriorating.
 
So, the paint quality was one variable, but there were other as well...

In addition to the paint quality, very important is the application method. Early Renessance artists used to grind their own pigments by hand - resulting in various sizes granules, hence excellent paint quality, unlike the modern electric mills, which grind everything in the same size powders, resulting in 'boring' look of the paint. Grounding (the way of priming the surface) was also critical. The best was priming using gypsum media - lean, white and uniform, suitable for tempera, egg tempera or oil paints!
One of the great earlier Flemish artists, Johannes van Eyck, devised and popularized egg tempera - a tempera pigment mixed in yolk of an egg - this resulted in one of the most permanent paints, that after half of a millennium still look like they were painted yestarday. (Google "The Portrait of Arnolfini" to see it yourselves in a large resolution).
These artists painted with the technique of "laserunek" (Polish term) - the so called "glazing" - multiple layers, one on top of the others, of exceedingly thinly applied paint, heavily diluted in oil in such a way, that earlier layers were visible through the later ones, coming through. It could be more than 10 layers of a detail in a painting, like various shades of skin, jewelry pieces, fabrics, lace...! The end result was a middle color comprised of all intermediate ones. A painting like this was very intense in color and light - you could see it even in near darkness, it had its own light!
 
Also, in those times, there was a separate profession - people preparing wooden panels for artists - they were made from boards of hardwood attached together (tongue and groove usually) into a required size and grounded with that primer - gypsum powder mixed with rabbit skin glue together to form a thin paste similar to watery cream. Those people produced the best panels for artists (I am talking about the era before artists used canvases, which were used later).
I encourage you to watch the movie mentioned earlier in this thread - "A Girl with a Pearl Earring" - it shows you, among other things, the steps of preparation of the pigments, grounding them and mixing with linen oil, with all the attention to detail. Also, the technique of painting itself is shown. Vermeer Van Delft was one of the most preeminent artist of his times, known for the quality of his works, which can be appreciated and admired today...
One of the mistakes Leonardo made with his "Last Supper", was that he painted it on a dry stucco, instead of fresh, wet one (hence the name al fresco). This resulted in very unstable painting, which quickly started to deteriorate and even today is still deteriorating.
 
So, the paint quality was one variable, but there were other as well...

In addition to the paint quality, very important is the application method. Early Renessance artists used to grind their own pigments by hand - resulting in various sizes granules, hence excellent paint quality, unlike the modern electric mills, which grind everything in the same size powders, resulting in 'boring' look of the paint. Grounding (the way of priming the surface) was also critical. The best was priming using gypsum media - lean, white and uniform, suitable for tempera, egg tempera or oil paints!
One of the great earlier Flemish artists, Johannes van Eyck, devised and popularized egg tempera - a tempera pigment mixed in yolk of an egg - this resulted in one of the most permanent paints, that after half of a millennium still look like they were painted yestarday. (Google "The Portrait of Arnolfini" to see it yourselves in a large resolution).
These artists painted with the technique of "laserunek" (Polish term) - the so called "glazing" - multiple layers, one on top of the others, of exceedingly thinly applied paint, heavily diluted in oil in such a way, that earlier layers were visible through the later ones, coming through. It could be more than 10 layers of a detail in a painting, like various shades of skin, jewelry pieces, fabrics, lace...! The end result was a middle color comprised of all intermediate ones. A painting like this was very intense in color and light - you could see it even in near darkness, it had its own light!
 
Also, in those times, there was a separate profession - people preparing wooden panels for artists - they were made from boards of hardwood attached together (tongue and groove usually) into a required size and grounded with that primer - gypsum powder mixed with rabbit skin glue together to form a thin paste similar to watery cream. Those people produced the best panels for artists (I am talking about the era before artists used canvases, which were used later).
I encourage you to watch the movie mentioned earlier in this thread - "A Girl with a Pearl Earring" - it shows you, among other things, the steps of preparation of the pigments, grounding them and mixing with linen oil, with all the attention to detail. Also, the technique of painting itself is shown. Vermeer Van Delft was one of the most preeminent artist of his times, known for the quality of his works, which can be appreciated and admired today...
One of the mistakes Leonardo made with his "Last Supper", was that he painted it on a dry stucco, instead of fresh, wet one (hence the name al fresco). This resulted in very unstable painting, which quickly started to deteriorate and even today is still deteriorating.
 
So, the paint quality was one variable, but there were other as well...

In addition to the paint quality, very important is the application method. Early Renessance artists used to grind their own pigments by hand - resulting in various sizes granules, hence excellent paint quality, unlike the modern electric mills, which grind everything in the same size powders, resulting in 'boring' look of the paint. Grounding (the way of priming the surface) was also critical. The best was priming using gypsum media - lean, white and uniform, suitable for tempera, egg tempera or oil paints!
One of the great earlier Flemish artists, Johannes van Eyck, devised and popularized egg tempera - a tempera pigment mixed in yolk of an egg - this resulted in one of the most permanent paints, that after half of a millennium still look like they were painted yestarday. (Google "The Portrait of Arnolfini" to see it yourselves in a large resolution).
These artists painted with the technique of "laserunek" (Polish term) - the so called "glazing" - multiple layers, one on top of the others, of exceedingly thinly applied paint, heavily diluted in oil in such a way, that earlier layers were visible through the later ones, coming through. It could be more than 10 layers of a detail in a painting, like various shades of skin, jewelry pieces, fabrics, lace...! The end result was a middle color comprised of all intermediate ones. A painting like this was very intense in color and light - you could see it even in near darkness, it had its own light!
 
Also, in those times, there was a separate profession - people preparing wooden panels for artists - they were made from boards of hardwood attached together (tongue and groove usually) into a required size and grounded with that primer - gypsum powder mixed with rabbit skin glue together to form a thin paste similar to watery cream. Those people produced the best panels for artists (I am talking about the era before artists used canvases, which were used later).
I encourage you to watch the movie mentioned earlier in this thread - "A Girl with a Pearl Earring" - it shows you, among other things, the steps of preparation of the pigments, grounding them and mixing with linen oil, with all the attention to detail. Also, the technique of painting itself is shown. Vermeer Van Delft was one of the most preeminent artist of his times, known for the quality of his works, which can be appreciated and admired today...
One of the mistakes Leonardo made with his "Last Supper", was that he painted it on a dry stucco, instead of fresh, wet one (hence the name al fresco). This resulted in very unstable painting, which quickly started to deteriorate and even today is still deteriorating.
 
So, the paint quality was one variable, but there were other as well...

In addition to the paint quality, very important is the application method. Early Renessance artists used to grind their own pigments by hand - resulting in various sizes granules, hence excellent paint quality, unlike the modern electric mills, which grind everything in the same size powders, resulting in 'boring' look of the paint. Grounding (the way of priming the surface) was also critical. The best was priming using gypsum media - lean, white and uniform, suitable for tempera, egg tempera or oil paints!
One of the great earlier Flemish artists, Johannes van Eyck, devised and popularized egg tempera - a tempera pigment mixed in yolk of an egg - this resulted in one of the most permanent paints, that after half of a millennium still look like they were painted yestarday. (Google "The Portrait of Arnolfini" to see it yourselves in a large resolution).
These artists painted with the technique of "laserunek" (Polish term) - the so called "glazing" - multiple layers, one on top of the others, of exceedingly thinly applied paint, heavily diluted in oil in such a way, that earlier layers were visible through the later ones, coming through. It could be more than 10 layers of a detail in a painting, like various shades of skin, jewelry pieces, fabrics, lace...! The end result was a middle color comprised of all intermediate ones. A painting like this was very intense in color and light - you could see it even in near darkness, it had its own light!
 
Also, in those times, there was a separate profession - people preparing wooden panels for artists - they were made from boards of hardwood attached together (tongue and groove usually) into a required size and grounded with that primer - gypsum powder mixed with rabbit skin glue together to form a thin paste similar to watery cream. Those people produced the best panels for artists (I am talking about the era before artists used canvases, which were used later).
I encourage you to watch the movie mentioned earlier in this thread - "A Girl with a Pearl Earring" - it shows you, among other things, the steps of preparation of the pigments, grounding them and mixing with linen oil, with all the attention to detail. Also, the technique of painting itself is shown. Vermeer Van Delft was one of the most preeminent artist of his times, known for the quality of his works, which can be appreciated and admired today...
One of the mistakes Leonardo made with his "Last Supper", was that he painted it on a dry stucco, instead of fresh, wet one (hence the name al fresco). This resulted in very unstable painting, which quickly started to deteriorate and even today is still deteriorating.
 
So, the paint quality was one variable, but there were other as well...

Hi,
This is a validation model for kit development, and the work of hull part will begin soon. About 70% of the design has been completed. My partners will make 1:36, 1:48 and bow section respectively. All the photos from their buildlog are authorized for me to release in MSW.
 
This project started from NMM's original draught, True Image Model, a ship model studio from UK, which obtained a commercial kit license from NMM.
 


 

 
 

 
 

 

 

 

 

 

 

 

 
Now there are three modelers involved in the model validation. We will complete the bow section kit first, because it is relatively simple.
 
The wood used in kit is boxwood / pear wood.
 
Welcome to pay attention to our follow-up progress.
 
Jack

Manufacture  of the cannon cariages.
 
Karl
 

 

 

 

 

 

 

 

 

 

 

 

 

 

In addition to the paint quality, very important is the application method. Early Renessance artists used to grind their own pigments by hand - resulting in various sizes granules, hence excellent paint quality, unlike the modern electric mills, which grind everything in the same size powders, resulting in 'boring' look of the paint. Grounding (the way of priming the surface) was also critical. The best was priming using gypsum media - lean, white and uniform, suitable for tempera, egg tempera or oil paints!
One of the great earlier Flemish artists, Johannes van Eyck, devised and popularized egg tempera - a tempera pigment mixed in yolk of an egg - this resulted in one of the most permanent paints, that after half of a millennium still look like they were painted yestarday. (Google "The Portrait of Arnolfini" to see it yourselves in a large resolution).
These artists painted with the technique of "laserunek" (Polish term) - the so called "glazing" - multiple layers, one on top of the others, of exceedingly thinly applied paint, heavily diluted in oil in such a way, that earlier layers were visible through the later ones, coming through. It could be more than 10 layers of a detail in a painting, like various shades of skin, jewelry pieces, fabrics, lace...! The end result was a middle color comprised of all intermediate ones. A painting like this was very intense in color and light - you could see it even in near darkness, it had its own light!
 
Also, in those times, there was a separate profession - people preparing wooden panels for artists - they were made from boards of hardwood attached together (tongue and groove usually) into a required size and grounded with that primer - gypsum powder mixed with rabbit skin glue together to form a thin paste similar to watery cream. Those people produced the best panels for artists (I am talking about the era before artists used canvases, which were used later).
I encourage you to watch the movie mentioned earlier in this thread - "A Girl with a Pearl Earring" - it shows you, among other things, the steps of preparation of the pigments, grounding them and mixing with linen oil, with all the attention to detail. Also, the technique of painting itself is shown. Vermeer Van Delft was one of the most preeminent artist of his times, known for the quality of his works, which can be appreciated and admired today...
One of the mistakes Leonardo made with his "Last Supper", was that he painted it on a dry stucco, instead of fresh, wet one (hence the name al fresco). This resulted in very unstable painting, which quickly started to deteriorate and even today is still deteriorating.
 
So, the paint quality was one variable, but there were other as well...

"...After some time upon finishing the model, I noticed that those plastic deadeyes started breaking under tension from shrouds, specifically those tiny eyes on top of each deadeye (?).
I would advice you to replace them all with wooden ones and rig them properly..."
 
This is one of the few spare deadeyes from the original kit. Notice the little eye (marked with a red arrow). They want you to attach the chain plates (straps) to this eye, instead of wrapping it around the deadeye. After a while, the strain on the eye breaks it off the deadeye and you'll end up with loosely hanging shroud, which has to be replaced... Hence my recommendation to use wooden deadeyes and have a piece of mind, instead of using these plastic ones.
Also, there are other inaccuracies of the kit - the tops are round, which is a bit archaic for the era the ship was built in. They should rather be rectangular and only rounded up in the forward part, like other ships from the end of XVIII C. Also I have doubts about the stern...
But, overall, the kit makes a nice looking model, especially if you want to bash it a bit...

This was my first kit I built many years ago. I too had difficulties with rigging (had only two sheet of plans printed on both sides of paper). Instruction booklet was not much help...
ZuMondfeld helped me a bit, I remember.
After some time upon finishing the model, I noticed that those plastic deadeyes started breaking under tension from shrouds, specifically those tiny eyes on top of each deadeye (?).
I would advice you to replace them all with wooden ones and rig them properly.

Manufacture of the cannon barrels.
Instead of the tin casting process,
this time I used casting powder.
Advantage ower tin casting , considerably cheaper
and enormus weight reduction at this 1/24 scale.
 
Karl
 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

I've been working on a number of things such as the gun port lids, gun carriages, ladders and rudder. Today I finished the two ladders that go below the gun deck. The initial assembly was all about getting things square and locked up, using the two sides and top and bottom steps. Once done, I inserted the remaining steps. Each step needed to be beveled slightly on the bottom in order to fit into the side grooves. To keep things neat, I glued the steps to the sides from underneath the ladder with a tiny drop of slow drying 3 hour epoxy. The epoxy will eventually wick into the joint and not be seen when the ladder is installed. Once dry, I rounded off the top forward edge of each step and sanded the step overhangs flush with the sides of the ladder. After a coat of W-O-P the ladders were ready to install.
 

 
The ladders position was established in such a way that the back and bottom of the sides are sitting flush to the coaming and deck below, respectively. Four layers of the green tape was used to mark the position of the ladders top. The blue tape makes it easy to hold onto the ladder while inserting it. When installing, center the top of the ladder within the coaming and up against the bottom of the green tape. Then lower the bottom of the ladder onto the deck below. Notice where I marked the position of the ladder on the green tape.
 

 

 
Mike

Thank you, Mati.

If you do a lot of serving, it pays to fashion from scraps of brass a small device, that is suspended under the served rope and contains a spool of thread for serving, is moving along the rope while serving it simultaneously. A sort of, small variation on the so called, bow string server, used in archery.
I made one long time ago and it works perfectly every time. I also made a long(er) serving machine - mine is 2.5 ft long and powered with a DC motor, so the entire process of serving is fully automated, hands free, and the serving is very even and tight along the entire length of the rope.
Here is one of the served stays for my model of the French 74 gun ship 1:48.

If you do a lot of serving, it pays to fashion from scraps of brass a small device, that is suspended under the served rope and contains a spool of thread for serving, is moving along the rope while serving it simultaneously. A sort of, small variation on the so called, bow string server, used in archery.
I made one long time ago and it works perfectly every time. I also made a long(er) serving machine - mine is 2.5 ft long and powered with a DC motor, so the entire process of serving is fully automated, hands free, and the serving is very even and tight along the entire length of the rope.
Here is one of the served stays for my model of the French 74 gun ship 1:48.

If you do a lot of serving, it pays to fashion from scraps of brass a small device, that is suspended under the served rope and contains a spool of thread for serving, is moving along the rope while serving it simultaneously. A sort of, small variation on the so called, bow string server, used in archery.
I made one long time ago and it works perfectly every time. I also made a long(er) serving machine - mine is 2.5 ft long and powered with a DC motor, so the entire process of serving is fully automated, hands free, and the serving is very even and tight along the entire length of the rope.
Here is one of the served stays for my model of the French 74 gun ship 1:48.

If you do a lot of serving, it pays to fashion from scraps of brass a small device, that is suspended under the served rope and contains a spool of thread for serving, is moving along the rope while serving it simultaneously. A sort of, small variation on the so called, bow string server, used in archery.
I made one long time ago and it works perfectly every time. I also made a long(er) serving machine - mine is 2.5 ft long and powered with a DC motor, so the entire process of serving is fully automated, hands free, and the serving is very even and tight along the entire length of the rope.
Here is one of the served stays for my model of the French 74 gun ship 1:48.

If you do a lot of serving, it pays to fashion from scraps of brass a small device, that is suspended under the served rope and contains a spool of thread for serving, is moving along the rope while serving it simultaneously. A sort of, small variation on the so called, bow string server, used in archery.
I made one long time ago and it works perfectly every time. I also made a long(er) serving machine - mine is 2.5 ft long and powered with a DC motor, so the entire process of serving is fully automated, hands free, and the serving is very even and tight along the entire length of the rope.
Here is one of the served stays for my model of the French 74 gun ship 1:48.

If you do a lot of serving, it pays to fashion from scraps of brass a small device, that is suspended under the served rope and contains a spool of thread for serving, is moving along the rope while serving it simultaneously. A sort of, small variation on the so called, bow string server, used in archery.
I made one long time ago and it works perfectly every time. I also made a long(er) serving machine - mine is 2.5 ft long and powered with a DC motor, so the entire process of serving is fully automated, hands free, and the serving is very even and tight along the entire length of the rope.
Here is one of the served stays for my model of the French 74 gun ship 1:48.

If you do a lot of serving, it pays to fashion from scraps of brass a small device, that is suspended under the served rope and contains a spool of thread for serving, is moving along the rope while serving it simultaneously. A sort of, small variation on the so called, bow string server, used in archery.
I made one long time ago and it works perfectly every time. I also made a long(er) serving machine - mine is 2.5 ft long and powered with a DC motor, so the entire process of serving is fully automated, hands free, and the serving is very even and tight along the entire length of the rope.
Here is one of the served stays for my model of the French 74 gun ship 1:48.

If you do a lot of serving, it pays to fashion from scraps of brass a small device, that is suspended under the served rope and contains a spool of thread for serving, is moving along the rope while serving it simultaneously. A sort of, small variation on the so called, bow string server, used in archery.
I made one long time ago and it works perfectly every time. I also made a long(er) serving machine - mine is 2.5 ft long and powered with a DC motor, so the entire process of serving is fully automated, hands free, and the serving is very even and tight along the entire length of the rope.
Here is one of the served stays for my model of the French 74 gun ship 1:48.

Everyone: Its been a while but I finally have a sail on the ole Agamemnon. Its been a lot of trial and error but I have the lower fore course. Still have a lot of fiddling to do but I want to get the rest of the sails on the foremast rigged before I start trimming lines. In any case, its a good feeling to finally have made some progress

Sorry to intrude into your conversation, but the server (spool traveler - as you called it) isn't supposed to be supported in any way by this steel rod below. At least in my instance, mine hungs freely under the rope being served, suspended only by the serving thread. The gravity alone provides enough torsion and tension for serving. If the server tries to rotate around the rope, it means that there is too much tension on the thread, and you have to very slightly loosen up the screw on the bobbin so that it moves a bit easier.
Perhaps the pics from Johann were taken from up and showed erroneously in perspective that the bobbin somewhat rests on the rod?
Or maybe his does rest on the rod?
 
I would like however to know, how he did the worming on that rope.

You have to explore the possibilities that are offered by people who are into archery. Namely, they use the so called "bow string server" which travels along the served line while serving it at the same time. Please google "bow string server" and select "images" and you'll see many potential solutions.
They typically serve the line for a bow, which is a bit thicker then most of your miniature ropes for shipmodeling, so, if you want to obtain a commercially available gadget, you have to choose a possibly smaller one typically available for archery. Or, make one by yourself from parts which are typically available around your house/workshop. The solutions are endless...
 
The beauty of such a server is that it requires no, or very little attention, while serving your lines. It hungs suspended from your rope and its weight and tension controlled by the screw (next to a spool with thread), controls how tight is your serving. (Initial setup is therefore required) .
Once you start your serving process, you can literally make yourself a cup of coffee and drink it while observing the action of serving (provided that your serving machine is mechanically powered (electric DC motor) and you are serving a long enough piece of a rope).  The server, while serving your rope, WILL  AUTOMATICALLY MOVE ALONG THE ROPE without your intervention whatsoever.  You can even install a device that will shut off the power to the motor when the serving reaches the end of the rope, so that you don't have to watch the process.
 
Many years ago I made a simple device for serving - see attachments. It works perfectly for most of my ropes. Bigger (thicker) ropes will require a bigger server, naturally.