Dziadeczek

Hi, 
I am not an expert on your "La Creole", so I cannot help you to answer your question, but currently I am having similar problems with my 74 gun ship I am building, following Boudriot's 4 volumes. I noticed that in his books he sometimes says one thing, and elsewhere he contradicts himself. For example, he says that the running end of the fore topmast preventer stay is tied to a deadeye and the second deadeye is made fast to a jackstaff standard on the bowsprit, with a lanyard in between. But on his plans he clearly shows two blocks instead! Go figure!
I think that either you will have to faithfully follow Boudriot, or use your own best judgement and perhaps make your stay, say 25 mm thick - something in between 40 mm and 15 mm, (which is on item nr. 26 on your plan).
Thomas
PS: I always hugely admire your build - it is an inspiration for me with my own build, but I cannot come to your quality nearly enough!   😬

Hi, 
I am not an expert on your "La Creole", so I cannot help you to answer your question, but currently I am having similar problems with my 74 gun ship I am building, following Boudriot's 4 volumes. I noticed that in his books he sometimes says one thing, and elsewhere he contradicts himself. For example, he says that the running end of the fore topmast preventer stay is tied to a deadeye and the second deadeye is made fast to a jackstaff standard on the bowsprit, with a lanyard in between. But on his plans he clearly shows two blocks instead! Go figure!
I think that either you will have to faithfully follow Boudriot, or use your own best judgement and perhaps make your stay, say 25 mm thick - something in between 40 mm and 15 mm, (which is on item nr. 26 on your plan).
Thomas
PS: I always hugely admire your build - it is an inspiration for me with my own build, but I cannot come to your quality nearly enough!   😬

Overall view.

Hi Tony,
The way I did it, I took a sheet of a grid paper (with 1 mm increments) big enough for the entire frame, and drew two lines on it; one horizontal line near the bottom of the sheet and 2nd line vertical through the middle.
Then I drew several horizontal lines, parallel to that first horizontal line, but at various heights, the distances between being exact with the waterlines on your sheer plan. These lines will represent the same waterlines on your body plan (sections' plan).
Then take a compass and from your half breadth plan take distances between the keel and each waterline for each frame and transpose them onto your body plan at the corresponding waterline, and repeat this for all waterlines. Finally connect all points into a curve representing the half profile of your frame. In order to obtain a full profile, bend the sheet at the vertical line, place it on a light box and with a pencil trace the opposite profile.
Or, when you mark the above mentioned points on your body plan, mark them symmetrically on both sides of this vertical center line.
This is done manually, folks with computer programs can do it much faster, but I did not own such a program at that time.
This curved line only represent a mid section in between both parts of this "sandwich" that makes a frame. You will have to draw a few more lines like that in order to have a full shape of a frame. See, each frame hypothetically cut horizontally at a given level has a rectangular shape - for the mid frames , but this shape changes as you go towards the bow and the stern of the hull - they become progressively parallelograms due to the hull's oblique shape. 
You have to determine these shapes - for each frame and each waterline level. At the end you will have four curves - for each waterline, one is for a forward outer  profile of a given frame, second is for a forward inner profile, third is for a rear outer and fourth is for a rear inner profile, so the entire process is quite laborious and time consuming, done manually.
English is my second language, thus perhaps my explanations are not adequate enough, but I found a pretty good article on the internet, by Gene Bodnar, explaining everything in detail. Here is the link:  SCRATCH BUILDING A MODEL SHIP (modelshipworldforum.com)
 
Jean Boudriot is generally very good and precise in his plans and drawings, but as always, there is no guarantee and mistakes happen.
 
I suggest you make your own body plan (transverse sections) for all frames, making sure about their proper heights at the level of the deck and/or rail.
 
Regards,
Thomas
 

Ages ago I had to hand draw missing frames from Boudriot's plans for my 74. He only drew the so called station frames, but "for the clarity of the drawings" omitted the others. It took me considerable time to do it (of course, like mustard after dinner, later on Ancre issued addendum to the 4 volumes with ALL frames included, lucky me...  😬 ).
I remember I used waterlines from a half breadth plan as well as a body plan to draw missing profiles. It worked...

Hi Tony,
The way I did it, I took a sheet of a grid paper (with 1 mm increments) big enough for the entire frame, and drew two lines on it; one horizontal line near the bottom of the sheet and 2nd line vertical through the middle.
Then I drew several horizontal lines, parallel to that first horizontal line, but at various heights, the distances between being exact with the waterlines on your sheer plan. These lines will represent the same waterlines on your body plan (sections' plan).
Then take a compass and from your half breadth plan take distances between the keel and each waterline for each frame and transpose them onto your body plan at the corresponding waterline, and repeat this for all waterlines. Finally connect all points into a curve representing the half profile of your frame. In order to obtain a full profile, bend the sheet at the vertical line, place it on a light box and with a pencil trace the opposite profile.
Or, when you mark the above mentioned points on your body plan, mark them symmetrically on both sides of this vertical center line.
This is done manually, folks with computer programs can do it much faster, but I did not own such a program at that time.
This curved line only represent a mid section in between both parts of this "sandwich" that makes a frame. You will have to draw a few more lines like that in order to have a full shape of a frame. See, each frame hypothetically cut horizontally at a given level has a rectangular shape - for the mid frames , but this shape changes as you go towards the bow and the stern of the hull - they become progressively parallelograms due to the hull's oblique shape. 
You have to determine these shapes - for each frame and each waterline level. At the end you will have four curves - for each waterline, one is for a forward outer  profile of a given frame, second is for a forward inner profile, third is for a rear outer and fourth is for a rear inner profile, so the entire process is quite laborious and time consuming, done manually.
English is my second language, thus perhaps my explanations are not adequate enough, but I found a pretty good article on the internet, by Gene Bodnar, explaining everything in detail. Here is the link:  SCRATCH BUILDING A MODEL SHIP (modelshipworldforum.com)
 
Jean Boudriot is generally very good and precise in his plans and drawings, but as always, there is no guarantee and mistakes happen.
 
I suggest you make your own body plan (transverse sections) for all frames, making sure about their proper heights at the level of the deck and/or rail.
 
Regards,
Thomas
 

On the drawing you provided, Boudriot indicates spacings among the frames - the middle spots shown as short vertical lines between frames 1-10. From these points I would draw vertical lines up to the deck (in red on my copy) and from those, I would draw two (green) lines parallel to the red ones  showing the "thickness" of your missing frames, and thus placing the "rest" of the frames on the plan. La Jacinte was not a big, heavy, Navy ship having many tightly spaced frames, like the ships-of-the-war, so I would assume that in between station frames (1-10) there was another, one ordinary frame (unless someone has a better info).
Do the same on your half breadth plan (vertical view of the hull). 
On the intersections of these lines with your waterlines (on your half breadth plan), you will have points, delineating shapes of your missing frames.

Ages ago I had to hand draw missing frames from Boudriot's plans for my 74. He only drew the so called station frames, but "for the clarity of the drawings" omitted the others. It took me considerable time to do it (of course, like mustard after dinner, later on Ancre issued addendum to the 4 volumes with ALL frames included, lucky me...  😬 ).
I remember I used waterlines from a half breadth plan as well as a body plan to draw missing profiles. It worked...

On the drawing you provided, Boudriot indicates spacings among the frames - the middle spots shown as short vertical lines between frames 1-10. From these points I would draw vertical lines up to the deck (in red on my copy) and from those, I would draw two (green) lines parallel to the red ones  showing the "thickness" of your missing frames, and thus placing the "rest" of the frames on the plan. La Jacinte was not a big, heavy, Navy ship having many tightly spaced frames, like the ships-of-the-war, so I would assume that in between station frames (1-10) there was another, one ordinary frame (unless someone has a better info).
Do the same on your half breadth plan (vertical view of the hull). 
On the intersections of these lines with your waterlines (on your half breadth plan), you will have points, delineating shapes of your missing frames.

Ages ago I had to hand draw missing frames from Boudriot's plans for my 74. He only drew the so called station frames, but "for the clarity of the drawings" omitted the others. It took me considerable time to do it (of course, like mustard after dinner, later on Ancre issued addendum to the 4 volumes with ALL frames included, lucky me...  😬 ).
I remember I used waterlines from a half breadth plan as well as a body plan to draw missing profiles. It worked...

Ages ago I had to hand draw missing frames from Boudriot's plans for my 74. He only drew the so called station frames, but "for the clarity of the drawings" omitted the others. It took me considerable time to do it (of course, like mustard after dinner, later on Ancre issued addendum to the 4 volumes with ALL frames included, lucky me...  😬 ).
I remember I used waterlines from a half breadth plan as well as a body plan to draw missing profiles. It worked...

I finished the ratlines and a number of other small details and hung the flag! Although I need to add a number of rope coils I am calling her finished for now since I am moving next week and she needs to get placed in my office for safe keeping. 
 
Overall so incredibly happy with how the Perry turned out. I learned so much on this build and am glad that the she didn’t turn out as the USS Putty! 
 
Would really recommend this kit to someone looking to improve their skills. 
 

I've started work on some of the deck details starting first by painting the inside of the transom. When I airbrushed the bulwarks there was good control of the color depth and I was able to mask off as well. Not being able to easily mask off the transom area, I decided to use a flat 1/2" stroke brush instead. I started with W&N Crimson for several coats, followed by my usual 10:1 Crimson and Burnt Umber.  This gave me better control over the darker tone while making sure that the color didn't get too dark.
 
I removed all of the char from the Quarter Gallery beams except for the bottom edges. After fitting all of them in place they were numbered from 1-20. The last beam that goes against the transom had to be scratch built. The shape of my transom and the supplied laser cut beams didn't match up well and I wasn't going to try to edge bend them into shape.

 
I moved onto assembling the bulkhead at the great cabin. I decided to leave one door open. The three exposed edges of the door were painted to better match its overall color. I didn't paint to a perfectly even color. Instead I left the darker color showing through in places in order to simulate wear and tear that might occur during normal use. The top corner of the door is glued to the beam above to help keep it in open position.

 

 
I added the two gun port lids that will remain closed at the cabin. Also, I removed the rudder due to the pintel at the top breaking when I accidentally pushed the rudder too far. I was able to remove it without removing the top of the rudder trunk. Once it was off the ship it was easy to fix. I removed just enough off the top of the rudder in order to make it possible to push it up high enough to clear the pins. The top of the rudder still cannot be seen when it is in place. I will put the rudder on when I feel it is safe to do so. No harm done!

 
Mike

Thanks to all for the kind comments.
 
Part 4
 
Auxiliary construction built for the alignment of the frames,
five double frames installed, gun opening fixed.
To consolidate the construction , the entire external planking was atteched.
 
Karl  
(Google Translator)
 

 

 

 

 

 

 

 

 

 

 
 

Glenn, thanks for your warm comment.
The charcoal stoves are done.They are made of etched parts, so their assembly was not so difficult. Making tripods was much more complicated and demanding. But I am satisfied with the result.
   

Poor piano...

Poor piano...

Poor piano...

Why don't you impress into the wood tiny circles imitating treenails, with a sharp edge of a medical needle of appropriate size, or any other metal tube?
They look perfect after slight push and twist of such needle into the wood and one coat of Danish oil. (besides, that way it's lots less work...)

Druxey, you're right. But no one would say how much time these details will take.
I continue with the roof of the galley. Due to the small space, I simplified the attachment of the roof a bit (this detail will not be very visible in the final).

For a better controlled process, build yourself a simple jig. Get 2 paint mixing sticks (for free from Home Depot), cut them to appropriate lengths (slightly longer than the length of your mast) and glue to each on one side a strip of medium grade sand paper.
At one end of such stick glue short piece of wood (spacer) of same thickness as the top of your mast, and at the opposite end glue two other spacers as thick as the bottom diameter of your mast, leaving center hole empty. Glue both sticks together. Especially helpful if you fabricate many identical parts.
 
 
 
Clamp your jig to the worktable.
 
Insert one end of your dowel into a chuck of a handheld drill and place the opposite end of the dowel into this center hole of your jig. Start your drill and gently press it into your jig, until it goes all the way. It will be stopped by the smaller spacer at the other end. Voila!
 
I saw this concept in the Polish shipmodeling forum - one modeler was fabricating a few dozen oars for his model. You can see it here (scroll down the page half way to see appropriate pics).
 
http://www.koga.net.pl/forum/viewtopic.php?f=7&t=44911&p=57251&hilit=galera#p57251

Hi fellow shipmodelers,
It has been a long while since my previous post - time spent on my attempts to photoetch at home, as well as  other home tasks, eg. staying alive and healthy recently, socially distancing myself, and such, but finally I have some constructive reporting to post now.
I closely followed the online tutorial on photoetching given by Mr. Gene Berger, which was suggested earlier on by one of the members. Many thanks for it to the Gentleman. I also had a very pleasant telephone conversation with Mr. Berger himself, where he gave me some extra tips.
 
Well, after many trials and errors and various changes into the exposure time and the concentrations of my chemicals, yesterday I finally managed to obtain an acceptable plate. It is not perfect, but it is good enough for my model (Boudriot's 74 guns in 1:48).   What I did is, first - I had to change the cheap developer from some generic Sodium Hydroxide I obtained somewhere online, into the one from Micromark, because my generic NaOH simply did not want to develop anything and subsequently my etchant could not etch anything. It turned out  to be a big lie rather than lye .   :-)   Waisted that way lots of time and material!
Also, I managed to pinpoint the best exposure time for my UV lamp I built earlier. It turned out to be about 90 - 120 seconds only! (45 to 60 secs on each side). The UV light in there really takes care of the photoresist quite quickly, as opposed to the ordinary incandescent light or unpredictable sunlight.
The first trial of a partial plate with the above settings - and the first time a modest success! Voila!!!
My second time - this time with the whole plate rather than its part only, turned out to be not so good. I found out, that the chemicals, both the Micromark developer and the etchant (ammonium persulfate - in my case) are rather unstable and quickly degrade, not just after the first process of etching, but even after a few days, being stored in plastic containers (bottles) and they produce unexpected and unacceptable results - partial, blotchy etching in places and overetching elsewhere.

So, yesterday I decided to prepare brand new chemicals and yet another new brass plate and start all over again. I warmed the etchant to 42 deg C and started the whole process after succesfully developing it. After a few minutes I noticed that the temperature of etchant in the tank was rising. Towards the end, when all elements were about etched, the temp was already 65 degrees C! I think that this was due to the size of my plate 4.5 x 10 in. - quite a big area of etching. This must be quite an exotermic reaction!
Anyway, to make the whole thing short - after 30 minutes of etching, the plate was done! See the attachments.
 I enclose two attachments, the first one shows my artwork I prepared on the Photoshop, and the second one - etched elements from yesterday, shows my parts after the etching. I cut them out with small snips and freed them from the rest of my plate and blackened them with Birchwood Casey - the one for brass/copper. Here I loosely placed them in the same manner as they are on my artwork - to compare both.
 
In conclusion, I have to say, that the entire process of photoetching at home is certainly doable, (though quite tricky), however one must prepare oneself for it beforehand. Firstly, obtain or build a suitable UV exposure lamp, get a laminator, get a few plastic containers for developer and water, get a good etching tank with temp control and a bubble agitator and all neccesary chemicals and photoresist.
Very critical to the entire process is to properly prepare the brass plate, to be as close to perfection as possible, shining like a mirror, free from any debris and grease from your fingertips. Use only distilled water for the entire process. And also the process of applying photoresist onto the plate is quite finicky. Observe exact UV exposure time! If you do everything properly, the rest is just patience - exposing your plate in the chemicals and waiting for the results.
I had lots of experience with an old fashioned B/W analog photography from my earlier, young years, but this process, although somewhat similar in principles, is more demanding and unforgiving. You have to be more exact throughout it, for any deviations will result in unexpected and undesireable results.

Hello dear colleagues! Here is another Enterprise-class frigate completed. Most likely this will be the last frigate of this type. The frigate "Sphinx" 1775. Scale 1:36.

Why don't you impress into the wood tiny circles imitating treenails, with a sharp edge of a medical needle of appropriate size, or any other metal tube?
They look perfect after slight push and twist of such needle into the wood and one coat of Danish oil. (besides, that way it's lots less work...)

Why don't you impress into the wood tiny circles imitating treenails, with a sharp edge of a medical needle of appropriate size, or any other metal tube?
They look perfect after slight push and twist of such needle into the wood and one coat of Danish oil. (besides, that way it's lots less work...)