Bob Cleek

Zero to negative back rake on brass. Google is your friend. There's tons of tutorials on YouTube. Check out "Mr. Pete 222" or "Tubal Cain" on YouTube. He's a retired shop teacher who's got tons of videos on machining on YouTube. They're great!
 
You may want to print something like this out and keep it for reference: http://www.steves-workshop.co.uk/tips/toolgrinding/tool-grinding-poster.pdf
 
 

And travelling even farther afield in the discussion, mention should include the once-ubiquitous LEROY lettering system used by draftsmen (and comic book artists) in later times when hand-lettering as an art form was lost when the ISO standard font was dictated. the LEROY system used a pantographic planchet and templates. The  LEROY kits and standard ISO font templates are still quite commonly and inexpensively available on eBay, but the older, and much wider selection of fonts and templates more frequently used prior to the ISO font standards' implementation are now quite rare and highly collectible. Old-style lettering systems can be handy for modelers sometimes, although digital fonts generally supplant them.
 

 
 

 
 
 

BTW, if anyone wants to drool over some nice hand tools, check out https://www.woodcraft.com/pages/japan-woodworker.

So you guys are the ones responsible for the disappearance of all the antique boxwood rules and scales!  
 
Time was, one could scrounge around and amass a collection of traditional boxwood scales and a nice classic folding carpenter's rule without a lot of trouble. Then they started disappearing. I recalled someone said people were buying them because they wanted the boxwood they were made of. I was skeptical, but I'm not skeptical any longer. Realize that the boxwood rules and scales you're cutting up for modeling stock may well be worth a lot more than you think. Not so much plain old "rulers," but be aware of what you've got in your stash. Leave some for those of us who have a use for them.  
 

https://garrettwade.com/product/antique-architects-folding-rule
 
 
 

https://americanhistory.si.edu/collections/search/object/nmah_904792
 

https://www.antiquesboutique.com/antique-barometers-instruments/set-of-architect-s-scale-rules/itm30452#.YGPHTVVKgdU
 
 
 

Yes. I neglected to mention that when using this "connect the dot" method to draw curved lines laid out by points made with a pantograph or by points defined by a table of offsets, a batten and weights ("ducks") and/or curves are required, preferably a set of ship's curves if you can find them. (See: https://www.mp-artware.de/shop/en/Templates/Ship-curves/)   Drafting curves are more than just a bunch of pretty random shaped templates. The curves are mathematically generated so that in use a fair curve will be yielded. These curves are all segments of what is known as a "clothoid," "Cornu," or "Euler" spiral:
 
The principle of linear variation of the curvature of the transition curve between a tangent and a circular curve defines the geometry of the Euler spiral:
Its curvature begins with zero at the straight section (the tangent) and increases linearly with its curve length. Where the Euler spiral meets the circular curve, its curvature becomes equal to that of the latter.  
https://en.wikipedia.org/wiki/Euler_spiral (More than you'd ever want or need to know unless you are a Ph.D. mathematics wonk.)
 
For those who may be interested, and because I've often encountered those untrained in the use of drafting curves, the below explains the proper use of drafting curves to develop a fair curve:
 
Use of the French Curve
The french curve is used to draw a smooth line through predetermined points. After the points are plotted, a light pencil line should be sketched to connect the points in a smooth flowing line. To draw the finished line over the freehand line, match the various parts of the french curve to various segments of the freehand curve. Avoid abrupt changes in curvature by placing the short radius of the french curve toward the short radius portion of the line to be drawn. Change your position around the drawing board when
necessary so that you can work on the side of the french curve that is away from you. You should avoid working on the "under" side of the french curve. Place the french curve so that it intersects at least two points of the line. When drawing the line along the edge of the french curve, stop short of the last point intersected. Then move the french curve along to intersect two or three more points and make sure that the edge of the curve connects smoothly with the line already drawn. When using the irregular curve, you can draw a perfectly smooth curved line by plotting enough points (the sharper the curve, the more points you need) and by drawing in shorts steps.
 
Figure 3-10 shows how a smooth line is drawn through a series of plotted points. The french curve in view A matches points 1, 2, 3, and 4. Draw a line from 1 to 3 only (not to 4). At B, the curve matches points 3 to beyond 4. Draw a line from 3 to 4 only (not to 5). At C, it matches points 4, 5, and 6. Draw a line from 4 to just short of 6.
At D, it matches a point short of 6 to beyond
7. Draw a line from 6 to 7.
At E, it matches a point short of 7 to beyond
9. Draw a line from 7 to 9.
At F, it matches a point short of 9 to beyond
11. Draw a line from 9 to 11.
You will probably notice how the french curve is turned over and reversed to find portions that fit the points on the line with increasing or decreasing changes in curvature.
When you are drawing a curved line that extends into a straight line, the curve should be drawn first, and the straight line joined to it.
 

https://www.tpub.com/engbas/3-8.htm
 
It is possible to generate these curves using some of the very expensive and highly sophisticated CAD programs today, but I've read that because there are so few straight lines in a vessel's drawings, manual drafting still offers advantages over CAD in terms of programming time saved.
 
See further extensive discussion of the use of curves at: 
 
 
 

Great old-time project! I used to love reading those old magazines as a kid. 
 
A 3D carving pantograph would be just the ticket for modelers who scratch-build those 17th and 18th Century "gingerbread" encrusted men-o-war. Such a device could sure make all that repetitive carving go a lot faster.
 
I must be missing something, but I don't see from the drawings how the "Z" axis operates. The cursor (tracer pin) and the cutter have to move up and down in proportional unison on the "Z" axis, just as they do in the "X" and "Y" axes, but I don't see a mechanism that would accomplish that. Any answers?
 
 

Yes. I neglected to mention that when using this "connect the dot" method to draw curved lines laid out by points made with a pantograph or by points defined by a table of offsets, a batten and weights ("ducks") and/or curves are required, preferably a set of ship's curves if you can find them. (See: https://www.mp-artware.de/shop/en/Templates/Ship-curves/)   Drafting curves are more than just a bunch of pretty random shaped templates. The curves are mathematically generated so that in use a fair curve will be yielded. These curves are all segments of what is known as a "clothoid," "Cornu," or "Euler" spiral:
 
The principle of linear variation of the curvature of the transition curve between a tangent and a circular curve defines the geometry of the Euler spiral:
Its curvature begins with zero at the straight section (the tangent) and increases linearly with its curve length. Where the Euler spiral meets the circular curve, its curvature becomes equal to that of the latter.  
https://en.wikipedia.org/wiki/Euler_spiral (More than you'd ever want or need to know unless you are a Ph.D. mathematics wonk.)
 
For those who may be interested, and because I've often encountered those untrained in the use of drafting curves, the below explains the proper use of drafting curves to develop a fair curve:
 
Use of the French Curve
The french curve is used to draw a smooth line through predetermined points. After the points are plotted, a light pencil line should be sketched to connect the points in a smooth flowing line. To draw the finished line over the freehand line, match the various parts of the french curve to various segments of the freehand curve. Avoid abrupt changes in curvature by placing the short radius of the french curve toward the short radius portion of the line to be drawn. Change your position around the drawing board when
necessary so that you can work on the side of the french curve that is away from you. You should avoid working on the "under" side of the french curve. Place the french curve so that it intersects at least two points of the line. When drawing the line along the edge of the french curve, stop short of the last point intersected. Then move the french curve along to intersect two or three more points and make sure that the edge of the curve connects smoothly with the line already drawn. When using the irregular curve, you can draw a perfectly smooth curved line by plotting enough points (the sharper the curve, the more points you need) and by drawing in shorts steps.
 
Figure 3-10 shows how a smooth line is drawn through a series of plotted points. The french curve in view A matches points 1, 2, 3, and 4. Draw a line from 1 to 3 only (not to 4). At B, the curve matches points 3 to beyond 4. Draw a line from 3 to 4 only (not to 5). At C, it matches points 4, 5, and 6. Draw a line from 4 to just short of 6.
At D, it matches a point short of 6 to beyond
7. Draw a line from 6 to 7.
At E, it matches a point short of 7 to beyond
9. Draw a line from 7 to 9.
At F, it matches a point short of 9 to beyond
11. Draw a line from 9 to 11.
You will probably notice how the french curve is turned over and reversed to find portions that fit the points on the line with increasing or decreasing changes in curvature.
When you are drawing a curved line that extends into a straight line, the curve should be drawn first, and the straight line joined to it.
 

https://www.tpub.com/engbas/3-8.htm
 
It is possible to generate these curves using some of the very expensive and highly sophisticated CAD programs today, but I've read that because there are so few straight lines in a vessel's drawings, manual drafting still offers advantages over CAD in terms of programming time saved.
 
See further extensive discussion of the use of curves at: 
 
 
 

Great old-time project! I used to love reading those old magazines as a kid. 
 
A 3D carving pantograph would be just the ticket for modelers who scratch-build those 17th and 18th Century "gingerbread" encrusted men-o-war. Such a device could sure make all that repetitive carving go a lot faster.
 
I must be missing something, but I don't see from the drawings how the "Z" axis operates. The cursor (tracer pin) and the cutter have to move up and down in proportional unison on the "Z" axis, just as they do in the "X" and "Y" axes, but I don't see a mechanism that would accomplish that. Any answers?
 
 

Yes. I neglected to mention that when using this "connect the dot" method to draw curved lines laid out by points made with a pantograph or by points defined by a table of offsets, a batten and weights ("ducks") and/or curves are required, preferably a set of ship's curves if you can find them. (See: https://www.mp-artware.de/shop/en/Templates/Ship-curves/)   Drafting curves are more than just a bunch of pretty random shaped templates. The curves are mathematically generated so that in use a fair curve will be yielded. These curves are all segments of what is known as a "clothoid," "Cornu," or "Euler" spiral:
 
The principle of linear variation of the curvature of the transition curve between a tangent and a circular curve defines the geometry of the Euler spiral:
Its curvature begins with zero at the straight section (the tangent) and increases linearly with its curve length. Where the Euler spiral meets the circular curve, its curvature becomes equal to that of the latter.  
https://en.wikipedia.org/wiki/Euler_spiral (More than you'd ever want or need to know unless you are a Ph.D. mathematics wonk.)
 
For those who may be interested, and because I've often encountered those untrained in the use of drafting curves, the below explains the proper use of drafting curves to develop a fair curve:
 
Use of the French Curve
The french curve is used to draw a smooth line through predetermined points. After the points are plotted, a light pencil line should be sketched to connect the points in a smooth flowing line. To draw the finished line over the freehand line, match the various parts of the french curve to various segments of the freehand curve. Avoid abrupt changes in curvature by placing the short radius of the french curve toward the short radius portion of the line to be drawn. Change your position around the drawing board when
necessary so that you can work on the side of the french curve that is away from you. You should avoid working on the "under" side of the french curve. Place the french curve so that it intersects at least two points of the line. When drawing the line along the edge of the french curve, stop short of the last point intersected. Then move the french curve along to intersect two or three more points and make sure that the edge of the curve connects smoothly with the line already drawn. When using the irregular curve, you can draw a perfectly smooth curved line by plotting enough points (the sharper the curve, the more points you need) and by drawing in shorts steps.
 
Figure 3-10 shows how a smooth line is drawn through a series of plotted points. The french curve in view A matches points 1, 2, 3, and 4. Draw a line from 1 to 3 only (not to 4). At B, the curve matches points 3 to beyond 4. Draw a line from 3 to 4 only (not to 5). At C, it matches points 4, 5, and 6. Draw a line from 4 to just short of 6.
At D, it matches a point short of 6 to beyond
7. Draw a line from 6 to 7.
At E, it matches a point short of 7 to beyond
9. Draw a line from 7 to 9.
At F, it matches a point short of 9 to beyond
11. Draw a line from 9 to 11.
You will probably notice how the french curve is turned over and reversed to find portions that fit the points on the line with increasing or decreasing changes in curvature.
When you are drawing a curved line that extends into a straight line, the curve should be drawn first, and the straight line joined to it.
 

https://www.tpub.com/engbas/3-8.htm
 
It is possible to generate these curves using some of the very expensive and highly sophisticated CAD programs today, but I've read that because there are so few straight lines in a vessel's drawings, manual drafting still offers advantages over CAD in terms of programming time saved.
 
See further extensive discussion of the use of curves at: 
 
 
 

Jud, I think you misunderstand my motivation for starting this thread. I'm not trying to 'judge' anyone, and I'm not saying a beginner can't complete a complex model (we've all seen it done). But in the pages of MSW 2.0, its predecessor MSW 1.0, the old Dry Dock Models forum, and the anecdotal evidence provided by manufacturers, we have overwhelming evidence that newbies regularly attempt more model than they are capable of handling. We don't send first-time skiers to the black diamond runs, and we don't let first-year medical students do heart transplants -- the same principle applies to ship models: try something commensurate with one's skills. I'm really not trying to turn people away -- I'm trying to help them make a choice of first model that will increase their chance of staying in the hobby. Success breeds more success. And haven't we all read about the much-bemoaned demise of the hobby? Hundreds (quite literally) of people quitting their attempts at building certainly doesn't alleviate that problem.

As an old tech writer, I'd add 5B.  READ THE INSTRUCTIONS AGAIN AND FOLLOW THEM THIS TIME!"  You'd be surprised at how many people read tech manuals over,toss it aside, and then wonder why they blew up the equipment.

These are known as raffee sails. https://en.wikipedia.org/wiki/Raffee_sail
 

 
Great Lakes schooner Denis Sullivan.
 
 

Blocks move easily in both directions. A free-turning block makes the work easier because the friction is low. Deadeyes, on the other hand, aren't intended to move freely. Friction is a good thing in a deadeye. Deadeyes, having no moving parts, are also somewhat easier to manufacture than blocks and they are stronger because they distribute their load more. Blocks carry their entire load on the sheave axle. Deadeyes are adjusted when first "setting up" rigging or when taking up the stretch in new standing rigging after it "settles in," but aren't otherwise generally intended to be adjusted periodically. The lee shrouds will be slack and the windward shrouds tight when the ship is under sail. They change places every time the ship is tacked. Nothing is done to the deadeye lanyards when that occurs.

They got even more complex than that one. It's a Keuffel and Esser, circa 1920. The little cup on the post at the pencil joint is for putting coins or lead weights in to adjust the pressure of the pencil on the paper. I though that was very cool. With the right weight applied, there's no need to hold the pencil end down by hand to make sure it's writing. You can just concentrate on the cursor point on the original.
 

Check out Chuck's Syren Ship Model Co. thread starting around 
There are many pages thereafter addressing Chuck's decision to quit making rope, making your own, and buying it from other sources.

They got even more complex than that one. It's a Keuffel and Esser, circa 1920. The little cup on the post at the pencil joint is for putting coins or lead weights in to adjust the pressure of the pencil on the paper. I though that was very cool. With the right weight applied, there's no need to hold the pencil end down by hand to make sure it's writing. You can just concentrate on the cursor point on the original.
 

Most pantographs available today are really little more than toys. The really good ones used back when are very complex pieces of precision equipment and rather heavy. If you can find a complete one, it will likely be quite expensive if the seller knows the collector's market.
 
In practice, the pros used the pantograph to simply mark points from the original to the copy and then "connected the dots." That's much easier than trying to trace lines with the instrument. Using this method, acceptable results can be realized, even with the cheap ones. In most instances, however, scaling is today far easier with a copy machine.
 
If you find one like this at a garage sale, grab it!

 

 

 
https://americanhistory.si.edu/collections/search/object/nmah_904629

They really did do a great job! Master and Commander won two Academy Awards and one was for sound editing. It's quite something when watched with a decent surround sound system.

Most pantographs available today are really little more than toys. The really good ones used back when are very complex pieces of precision equipment and rather heavy. If you can find a complete one, it will likely be quite expensive if the seller knows the collector's market.
 
In practice, the pros used the pantograph to simply mark points from the original to the copy and then "connected the dots." That's much easier than trying to trace lines with the instrument. Using this method, acceptable results can be realized, even with the cheap ones. In most instances, however, scaling is today far easier with a copy machine.
 
If you find one like this at a garage sale, grab it!

 

 

 
https://americanhistory.si.edu/collections/search/object/nmah_904629

I've never seen a pantograph as sophisticated as the one above. A beautiful bit of kit.

Most pantographs available today are really little more than toys. The really good ones used back when are very complex pieces of precision equipment and rather heavy. If you can find a complete one, it will likely be quite expensive if the seller knows the collector's market.
 
In practice, the pros used the pantograph to simply mark points from the original to the copy and then "connected the dots." That's much easier than trying to trace lines with the instrument. Using this method, acceptable results can be realized, even with the cheap ones. In most instances, however, scaling is today far easier with a copy machine.
 
If you find one like this at a garage sale, grab it!

 

 

 
https://americanhistory.si.edu/collections/search/object/nmah_904629

I'm so relieved. Be still my heart!
 
I'm still looking for a boxed set of scale rules. They don't come cheap! 
 

So you guys are the ones responsible for the disappearance of all the antique boxwood rules and scales!  
 
Time was, one could scrounge around and amass a collection of traditional boxwood scales and a nice classic folding carpenter's rule without a lot of trouble. Then they started disappearing. I recalled someone said people were buying them because they wanted the boxwood they were made of. I was skeptical, but I'm not skeptical any longer. Realize that the boxwood rules and scales you're cutting up for modeling stock may well be worth a lot more than you think. Not so much plain old "rulers," but be aware of what you've got in your stash. Leave some for those of us who have a use for them.  
 

https://garrettwade.com/product/antique-architects-folding-rule
 
 
 

https://americanhistory.si.edu/collections/search/object/nmah_904792
 

https://www.antiquesboutique.com/antique-barometers-instruments/set-of-architect-s-scale-rules/itm30452#.YGPHTVVKgdU
 
 
 

Most pantographs available today are really little more than toys. The really good ones used back when are very complex pieces of precision equipment and rather heavy. If you can find a complete one, it will likely be quite expensive if the seller knows the collector's market.
 
In practice, the pros used the pantograph to simply mark points from the original to the copy and then "connected the dots." That's much easier than trying to trace lines with the instrument. Using this method, acceptable results can be realized, even with the cheap ones. In most instances, however, scaling is today far easier with a copy machine.
 
If you find one like this at a garage sale, grab it!

 

 

 
https://americanhistory.si.edu/collections/search/object/nmah_904629

I'm so relieved. Be still my heart!
 
I'm still looking for a boxed set of scale rules. They don't come cheap!