Bob Cleek

Traditional scale model ship building using traditional materials, primarily wood, scale rigging cordage, and non-ferrous metal fittings is an artistic discipline in and of itself which goes back at least as far as the Pharaohs. Those traditional materials have archival qualities that enable them to last for hundreds, if not thousands, of years. Few of us will ever build a model that will survive that long, but as a goal, it's something to strive for. Styrene and most other plastics, on the other hand, often deteriorate in a matter of decades, at best.  Building a plastic kit model yields a model that will be virtually identical to how many others there are in the same production run, save for the painting and weathering skills of the modeler. A scratch-built model is unique and can be the only model ever built of a particular vessel, thereby having the potential to be valued as a three-dimensional historical record of that particular vessel. Many find particular satisfaction in scratch-building for that reason. If one enjoys building models of any material or type they should pursue that hobby as long as it entertains them. It's really a matter of taste that dictates how any ship modeler choses to pursue the hobby.

Traditional scale model ship building using traditional materials, primarily wood, scale rigging cordage, and non-ferrous metal fittings is an artistic discipline in and of itself which goes back at least as far as the Pharaohs. Those traditional materials have archival qualities that enable them to last for hundreds, if not thousands, of years. Few of us will ever build a model that will survive that long, but as a goal, it's something to strive for. Styrene and most other plastics, on the other hand, often deteriorate in a matter of decades, at best.  Building a plastic kit model yields a model that will be virtually identical to how many others there are in the same production run, save for the painting and weathering skills of the modeler. A scratch-built model is unique and can be the only model ever built of a particular vessel, thereby having the potential to be valued as a three-dimensional historical record of that particular vessel. Many find particular satisfaction in scratch-building for that reason. If one enjoys building models of any material or type they should pursue that hobby as long as it entertains them. It's really a matter of taste that dictates how any ship modeler choses to pursue the hobby.

Traditional scale model ship building using traditional materials, primarily wood, scale rigging cordage, and non-ferrous metal fittings is an artistic discipline in and of itself which goes back at least as far as the Pharaohs. Those traditional materials have archival qualities that enable them to last for hundreds, if not thousands, of years. Few of us will ever build a model that will survive that long, but as a goal, it's something to strive for. Styrene and most other plastics, on the other hand, often deteriorate in a matter of decades, at best.  Building a plastic kit model yields a model that will be virtually identical to how many others there are in the same production run, save for the painting and weathering skills of the modeler. A scratch-built model is unique and can be the only model ever built of a particular vessel, thereby having the potential to be valued as a three-dimensional historical record of that particular vessel. Many find particular satisfaction in scratch-building for that reason. If one enjoys building models of any material or type they should pursue that hobby as long as it entertains them. It's really a matter of taste that dictates how any ship modeler choses to pursue the hobby.

Traditional scale model ship building using traditional materials, primarily wood, scale rigging cordage, and non-ferrous metal fittings is an artistic discipline in and of itself which goes back at least as far as the Pharaohs. Those traditional materials have archival qualities that enable them to last for hundreds, if not thousands, of years. Few of us will ever build a model that will survive that long, but as a goal, it's something to strive for. Styrene and most other plastics, on the other hand, often deteriorate in a matter of decades, at best.  Building a plastic kit model yields a model that will be virtually identical to how many others there are in the same production run, save for the painting and weathering skills of the modeler. A scratch-built model is unique and can be the only model ever built of a particular vessel, thereby having the potential to be valued as a three-dimensional historical record of that particular vessel. Many find particular satisfaction in scratch-building for that reason. If one enjoys building models of any material or type they should pursue that hobby as long as it entertains them. It's really a matter of taste that dictates how any ship modeler choses to pursue the hobby.

This isn't a top of the line scroll saw but I find that for the price it is very good.  Well built and not much vibration when running.  Used with out bolting it down on my workbench and had no issues.
https://www.amazon.com/gp/product/B07T4N9L93/ref=ppx_yo_dt_b_search_asin_title?ie=UTF8&psc=1

One critical question... are you looking at kits or scratch? 
 
Kits, usually just X-acto type blades, sand paper, sanding blocks.  I would suggest first doing a kit or two. Even if it's just something like the ModelExpo/Model Shipways 3-ship "beginner kit".   
 
 Scratch gets you into a whole different world as far as tools.  Many of the furniture tools are too large for model ships.  The only full-size power tool other than maybe an electric screwdriver I've found useful is a scroll saw.  My table saw, mill, and lathe are "small" tools.

While curves can be cut on a bandsaw, of course, I do think a good scroll saw is a much more versatile sawing tool for fine work such as is encountered in modeling. A scroll saw will permit you to stop the forward progress of a cut, rotate the workpiece without limitation, and start off in another direction without ever having to turn the saw off.  Similarly, a scroll saw can cut a circle or any other shape inside the perimeter of a workpiece which is simply not possible with a bandsaw. The scroll saw will also accept a far wider variety of cutting blades including omnidirectional ones which, again, are simply not possible with a bandsaw. If you do decide on a bandsaw, and you have the room in your shop, you'd do well to get a standard Delta 14" bandsaw or one of the many Asian clones (I'm sure any patents expired ages ago.) (Jet and Grizzly are reliable retailers of these and there are many available on the used market.) 
 
Buyers have to be careful buying scroll saws. There is a very wide range of price and corresponding quality in scroll saws and you definitely get what you pay for. One should do a fair amount of online research before "pulling the pin" to avoid disappointment and a waste of money. (Small "mini scroll saws" sold in most of the ship modeling catalogs, e.g. Dremel, Proxxon, and MicroMark, are generally underpowered and overpriced in my opinion.) Scroll saws are a "gateway" power tool with a wide market base of hobbyists. A lot of them are bought by entry level hobbyists who later find themselves no longer interested in their hobby and little-used scroll saws can be found on the used market quite easily. This is great if you find one of the $750 to $2,000 top of the line scroll saws for $100, and not so great if you pay $100 for a scroll saw that was junk the day it rolled off the assembly line. At the bottom of the heap in the "big box" stores, Wen and DeWalt "swing arm" models in the $150 to $300 range often get reasonably good reviews but they are not even in the same zip code with the "parallel arm" models made by Hegner, Sakura, Excalibur, and King Industrial. The major price difference is between "swing arm" and "parallel link arm" scroll saws. The latter move the blade in an up and down motion perpendicular to the table (if the table is set flat) while the former "swing" the blade in an arc when sawing. The primary quality distinctions in scroll saws are 1. Type of arm, swing or parallel link, 2. motor power, and perhaps most importantly, 3. lack of vibration, all of which are directly related to the accuracy the saw is capable of delivering. At the inexpensive end of the scale are tools which vibrate so much, even when bolted down to a solid surface, that they are near useless for doing fine work. 
 
This isn't to say that one has to spend $750 and up to acquire a decent scroll saw. Even if one "pays retail" for a new saw, good work can be done with DeWalt's parallel link arm 20" scroll saw. DEWALT Scroll Saw, Variable-Speed, 1.3 Amp (DW788), Yellow, 20-Inch - Power Table Saws - Amazon.com
 
It really isn't an "either or" question. If you want to cut pieces for built-up hull framing, a good scroll saw is the tool for the job. If you want to resaw billets for model work, a bandsaw is the tool for the job. You can use a bandsaw with a narrow blade to roughly cut curves within the limits of your blade's width and then "sand to the line," to achieve a sufficiently accurate result, but that's not really what the bandsaw is made for. You can also us a scroll saw to cut thick billets within the limits of its throat opening, but that's not what it's made for, either, and you'll probably break a lot of blades trying. 
 
So, as Mr. Natural says,
 

 

While curves can be cut on a bandsaw, of course, I do think a good scroll saw is a much more versatile sawing tool for fine work such as is encountered in modeling. A scroll saw will permit you to stop the forward progress of a cut, rotate the workpiece without limitation, and start off in another direction without ever having to turn the saw off.  Similarly, a scroll saw can cut a circle or any other shape inside the perimeter of a workpiece which is simply not possible with a bandsaw. The scroll saw will also accept a far wider variety of cutting blades including omnidirectional ones which, again, are simply not possible with a bandsaw. If you do decide on a bandsaw, and you have the room in your shop, you'd do well to get a standard Delta 14" bandsaw or one of the many Asian clones (I'm sure any patents expired ages ago.) (Jet and Grizzly are reliable retailers of these and there are many available on the used market.) 
 
Buyers have to be careful buying scroll saws. There is a very wide range of price and corresponding quality in scroll saws and you definitely get what you pay for. One should do a fair amount of online research before "pulling the pin" to avoid disappointment and a waste of money. (Small "mini scroll saws" sold in most of the ship modeling catalogs, e.g. Dremel, Proxxon, and MicroMark, are generally underpowered and overpriced in my opinion.) Scroll saws are a "gateway" power tool with a wide market base of hobbyists. A lot of them are bought by entry level hobbyists who later find themselves no longer interested in their hobby and little-used scroll saws can be found on the used market quite easily. This is great if you find one of the $750 to $2,000 top of the line scroll saws for $100, and not so great if you pay $100 for a scroll saw that was junk the day it rolled off the assembly line. At the bottom of the heap in the "big box" stores, Wen and DeWalt "swing arm" models in the $150 to $300 range often get reasonably good reviews but they are not even in the same zip code with the "parallel arm" models made by Hegner, Sakura, Excalibur, and King Industrial. The major price difference is between "swing arm" and "parallel link arm" scroll saws. The latter move the blade in an up and down motion perpendicular to the table (if the table is set flat) while the former "swing" the blade in an arc when sawing. The primary quality distinctions in scroll saws are 1. Type of arm, swing or parallel link, 2. motor power, and perhaps most importantly, 3. lack of vibration, all of which are directly related to the accuracy the saw is capable of delivering. At the inexpensive end of the scale are tools which vibrate so much, even when bolted down to a solid surface, that they are near useless for doing fine work. 
 
This isn't to say that one has to spend $750 and up to acquire a decent scroll saw. Even if one "pays retail" for a new saw, good work can be done with DeWalt's parallel link arm 20" scroll saw. DEWALT Scroll Saw, Variable-Speed, 1.3 Amp (DW788), Yellow, 20-Inch - Power Table Saws - Amazon.com
 
It really isn't an "either or" question. If you want to cut pieces for built-up hull framing, a good scroll saw is the tool for the job. If you want to resaw billets for model work, a bandsaw is the tool for the job. You can use a bandsaw with a narrow blade to roughly cut curves within the limits of your blade's width and then "sand to the line," to achieve a sufficiently accurate result, but that's not really what the bandsaw is made for. You can also us a scroll saw to cut thick billets within the limits of its throat opening, but that's not what it's made for, either, and you'll probably break a lot of blades trying. 
 
So, as Mr. Natural says,
 

 

Mahl sticks are routinely used by sign painters. A skilled sign painter uses his mahl stick not only as a secure rest for the painter's hand, but also as a guide for the brush. By resting the heel of the brush hand on the mahl stick and moving the end of the stick in an arc, a true curve can be quickly and very accurately made. Similarly, the stick can be held in position and the brush in hand, or resting on the stick, can be moved across the painting using the mahl stick to yield a perfectly straight line.
 
Actually, I've never seen a mahl stick used such that it rested on the painted surface of the piece. The padded end of the stick could smear the work unless one waited weeks, if not months, for the oil paint to solidify. I've only ever seen the padded end of the stick placed on the working surface at the edge or margin of the work surface. (Some mahl sticks have a "hook" at one end so it can be hooked over the top edge or side edge of the canvas.) On a larger painting, the sticks can get pretty long to accomplish their use without placing the end in wet paint. Some fancy ones are even telescoping for ease of storage.
 

 
 

How did you do the lettering, Chuck? It's beautiful and I think it's much classier than a brass plate. I can't tell from the photo if it was laser-etched or what.

Even if the sole were removable in some fashion, it would still have nails (this boat would seem quite light for treenails) fastening the boards to battens beneath to keep them in position. It is indeed "a model of a model" and the prototype model may have (and perhaps quite likely did) taken some liberties with the details. It would appear that there is no provision made for bailing and cleaning out the bilge unless there is some unseen way that the sole can be removed to permit access beneath it. That would not be seamanlike at all. The bilges would soon fill with crud and that would promote rot. Perhaps the rabbets on edges of the sole planks may intend to depict that the sole sections on either side of the center plank were designed to be removed, but I can't see from the model how that would be possible without deconstructing the thwarts unless the removable sole sections were cut into sections athwartships which I would expect to be the case in a real vessel of this type. It is entirely possible that the builder of the original model took that common detail as a given and didn't bother to cut them. As said, though, it's "a model of a model," and a damn fine one at that!

Yes, you are correct! I wasn't absolutely sure and it niggled at me, so I checked myself as well and corrected that in my post. I was thinking of a cotton-wrapped polyester blend I'd read about when I first wrote that and then realized that might not have been Gutermann Mara. Mara is different from regular polyester thread, though. Its fibers are uniquely made "core spun microfilament polyester." (Whatever that means!) I expect this is what distinguishes it from the ordinary polyester thread on the market. It doesn't seem to have any of the shortcomings the others do. It's not "plastic-y" at all. At any rate, the stuff works very well. 

Reading between the lines will get you in trouble quickly and on the internet, even reading the lines themselves is not to be trusted!
 
The "finestkind" standard material for scale model rigging cordage used to be linen thread, but it's gotten practically unobtainable at this point, being replaced by various synthetics.  The synthetics don't take dye as well, nor, being inherently slippery, are they very amenable to holding a knot. Chuck Passaro has done a lot of research on thread for use as rigging. He related that the conservators in a highly respected museums now specify an advanced polyester thread as a replacement for linen. Their decision was reportedly based on considerations of its archival properties and appearance. (Chuck has further perfected a method of "proofing" polyester scale rope after it's made by briefly heating it with a hair dryer. This causes the polyester fibers to take a set and prevents unraveling.) I believe the general consensus at present is that the preferred material for rigging is Gutermann's Mara polyester thread. It should be kept in mind that cotton fibers swell when wet with water and polyester fibers don't. Some have reported poor results trying to secure polyester rope knots with thinned PVA which contains water, as might be expected. Polyester scale cordage is probably best secured with shellac which is dissolved in alcohol. It may turn out that using a lacquer or nitrocellulose adhesive won't work so well if their acetone solvent dissolves the polyester thread. (I don't know if it will, but I do know what happens when you pour acetone into a syrofoam cup!)
 
 
See: 
I have not noticed any issues with "fuzzies" in the use of Gutermann's Mara thread for scale model rigging. Should such arise, the cure is simply to "flame" the thread, by quickly passing the line over a flame (a laboratory alcohol lamp works well for this) and letting the flame singe the fuzz off.

Yes, you are correct! I wasn't absolutely sure and it niggled at me, so I checked myself as well and corrected that in my post. I was thinking of a cotton-wrapped polyester blend I'd read about when I first wrote that and then realized that might not have been Gutermann Mara. Mara is different from regular polyester thread, though. Its fibers are uniquely made "core spun microfilament polyester." (Whatever that means!) I expect this is what distinguishes it from the ordinary polyester thread on the market. It doesn't seem to have any of the shortcomings the others do. It's not "plastic-y" at all. At any rate, the stuff works very well. 

Reading between the lines will get you in trouble quickly and on the internet, even reading the lines themselves is not to be trusted!
 
The "finestkind" standard material for scale model rigging cordage used to be linen thread, but it's gotten practically unobtainable at this point, being replaced by various synthetics.  The synthetics don't take dye as well, nor, being inherently slippery, are they very amenable to holding a knot. Chuck Passaro has done a lot of research on thread for use as rigging. He related that the conservators in a highly respected museums now specify an advanced polyester thread as a replacement for linen. Their decision was reportedly based on considerations of its archival properties and appearance. (Chuck has further perfected a method of "proofing" polyester scale rope after it's made by briefly heating it with a hair dryer. This causes the polyester fibers to take a set and prevents unraveling.) I believe the general consensus at present is that the preferred material for rigging is Gutermann's Mara polyester thread. It should be kept in mind that cotton fibers swell when wet with water and polyester fibers don't. Some have reported poor results trying to secure polyester rope knots with thinned PVA which contains water, as might be expected. Polyester scale cordage is probably best secured with shellac which is dissolved in alcohol. It may turn out that using a lacquer or nitrocellulose adhesive won't work so well if their acetone solvent dissolves the polyester thread. (I don't know if it will, but I do know what happens when you pour acetone into a syrofoam cup!)
 
 
See: 
I have not noticed any issues with "fuzzies" in the use of Gutermann's Mara thread for scale model rigging. Should such arise, the cure is simply to "flame" the thread, by quickly passing the line over a flame (a laboratory alcohol lamp works well for this) and letting the flame singe the fuzz off.

Reading between the lines will get you in trouble quickly and on the internet, even reading the lines themselves is not to be trusted!
 
The "finestkind" standard material for scale model rigging cordage used to be linen thread, but it's gotten practically unobtainable at this point, being replaced by various synthetics.  The synthetics don't take dye as well, nor, being inherently slippery, are they very amenable to holding a knot. Chuck Passaro has done a lot of research on thread for use as rigging. He related that the conservators in a highly respected museums now specify an advanced polyester thread as a replacement for linen. Their decision was reportedly based on considerations of its archival properties and appearance. (Chuck has further perfected a method of "proofing" polyester scale rope after it's made by briefly heating it with a hair dryer. This causes the polyester fibers to take a set and prevents unraveling.) I believe the general consensus at present is that the preferred material for rigging is Gutermann's Mara polyester thread. It should be kept in mind that cotton fibers swell when wet with water and polyester fibers don't. Some have reported poor results trying to secure polyester rope knots with thinned PVA which contains water, as might be expected. Polyester scale cordage is probably best secured with shellac which is dissolved in alcohol. It may turn out that using a lacquer or nitrocellulose adhesive won't work so well if their acetone solvent dissolves the polyester thread. (I don't know if it will, but I do know what happens when you pour acetone into a syrofoam cup!)
 
 
See: 
I have not noticed any issues with "fuzzies" in the use of Gutermann's Mara thread for scale model rigging. Should such arise, the cure is simply to "flame" the thread, by quickly passing the line over a flame (a laboratory alcohol lamp works well for this) and letting the flame singe the fuzz off.

Yes, you are correct! I wasn't absolutely sure and it niggled at me, so I checked myself as well and corrected that in my post. I was thinking of a cotton-wrapped polyester blend I'd read about when I first wrote that and then realized that might not have been Gutermann Mara. Mara is different from regular polyester thread, though. Its fibers are uniquely made "core spun microfilament polyester." (Whatever that means!) I expect this is what distinguishes it from the ordinary polyester thread on the market. It doesn't seem to have any of the shortcomings the others do. It's not "plastic-y" at all. At any rate, the stuff works very well. 

It looks like they have much "hihger" demands for their modeling than they do for proofreading their advertising copy!  
 
An interesting line of modeling tools, DSPIAE, appears to be a subsidiary of Meng, a relatively new Chinese plastic model kit company. See:; DSPIAE. 

Reading between the lines will get you in trouble quickly and on the internet, even reading the lines themselves is not to be trusted!
 
The "finestkind" standard material for scale model rigging cordage used to be linen thread, but it's gotten practically unobtainable at this point, being replaced by various synthetics.  The synthetics don't take dye as well, nor, being inherently slippery, are they very amenable to holding a knot. Chuck Passaro has done a lot of research on thread for use as rigging. He related that the conservators in a highly respected museums now specify an advanced polyester thread as a replacement for linen. Their decision was reportedly based on considerations of its archival properties and appearance. (Chuck has further perfected a method of "proofing" polyester scale rope after it's made by briefly heating it with a hair dryer. This causes the polyester fibers to take a set and prevents unraveling.) I believe the general consensus at present is that the preferred material for rigging is Gutermann's Mara polyester thread. It should be kept in mind that cotton fibers swell when wet with water and polyester fibers don't. Some have reported poor results trying to secure polyester rope knots with thinned PVA which contains water, as might be expected. Polyester scale cordage is probably best secured with shellac which is dissolved in alcohol. It may turn out that using a lacquer or nitrocellulose adhesive won't work so well if their acetone solvent dissolves the polyester thread. (I don't know if it will, but I do know what happens when you pour acetone into a syrofoam cup!)
 
 
See: 
I have not noticed any issues with "fuzzies" in the use of Gutermann's Mara thread for scale model rigging. Should such arise, the cure is simply to "flame" the thread, by quickly passing the line over a flame (a laboratory alcohol lamp works well for this) and letting the flame singe the fuzz off.

The trick with coils, etc. is to make them off the model and then glue them down on the model when they are finished. By running the bitter end of a line beneath the pre-made coil, it can be made to appear to be part of the separately attached coil.
 
In very small scales, for uniform coils, such as on pin rails, some will drive a couple of nails or pins a sufficient distance apart and wrap a suitable length of line around the pins to form the coil. For faking mooring lines, a similar approach is used.
 
What I generally do is to take a piece of scrap styrofoam packing sheet stock (always a good idea to keep a few pieces around) and I wrap it in kitchen plastic wrap. (If I want a number of uniform sized coils or fakes, draw a pattern and place the pattern on the piece of styrofoam beneath the plastic wrap.) The plastic wrap will make it easier to remove the finished shaped line from the block when it's dry. Following the pattern seen through the plastic wrap (or not if you don't use a pattern,) I use sewing pins pushed into the styrofoam block to hold the line in place as I want it to look when attached to the model. You can put pins on either side of the line or through the line, however best suits the occasion. 
 
After the line is pinned to the block, take a paintbrush and saturate the line with clear ("white") shellac. ("Orange" or "amber" shellac, which is also available, has an amber color and will work the same as "clear" shellac, but for most modeling applications, you don't want the color.) The shellac, right out of the can, is the consistency of water and will soak right into the fabric of the line. Only one application is required. Just a touch with a loaded small brush and the line will soak up the shellac. Let it soak in well but don't overdo it.  Now, let the shellac dry. As the shellac dries, the saturated line will gradually stiffen and you will be able to shape the line further as you may wish, using tweezers or the pins, whatever works for you. (Fingers aren't such a good idea because the shellacked lines will readily stick to your fingers and you may end up with a "tar baby" of string on your fingers.) If, after the shellac hardens, you want to further adjust the coil or fake, you need only apply some alcohol and shellac will soften again until the added alcohol evaporates. When the shellac is completely dry, which will be within a matter of minutes because its alcohol solvent evaporates very quickly, your line will appear as it did before, since the shellac becomes invisible, but it will be stiff and "cemented" into the position you shaped it to. (Blow on to speed up the process, if you want.) You can then remove the pins and carefully peel the line off the plastic wrap, which shouldn't stick too much to the line. and you can then attach the finished coil or fake to the model with glue or a bit more shellac..
 
This technique can also be used to secure the ends of rigging thread from unraveling and to shape catenaries in things like footropes, or to stiffen rows of reef points so they hang naturally against a sail. Somewhere along the way, many folks have come to use PVA adhesive for similar purposes, but I became familiar with using shellac in the days before PVA became popular and never found watered down PVA to be much use for anything as an alternative to shellac, mainly because I found shellac easier to handle, it has better adhesive properties, and the drying speed of its alcohol solvent is far greater than that of water. Shellac is a perfect sealer for model work. Its archival properties are well-proven, it is readily cleaned up  alcohol, and is is completely safe for man or beast in all respects. I buy white ("clear") shellac (de-waxed if I can get it) by the quart and denatured alcohol by the gallon can (from which I decant it into plastic squirt bottles,) at any paint or hardware store. It's relatively inexpensive, has a relatively infinite shelf-life and a myriad of uses in modeling. It is also completely compatible with all other oil or acrylic coatings which might be applied over it.
 

Various protein based adhesives were pretty much all that was available before WWI.  There are hide glues that are still commercially available.  They probably rate more consideration than we give them.
I wonder if shellac would serve as a rigging fixative?  The less extracted grades of flakes - dark auburn and amber   may even turn inappropriate bleached running rigging into a more accurate straw color.  They would be easy to apply and have an effective reverse gear.

It looks like they have much "hihger" demands for their modeling than they do for proofreading their advertising copy!  
 
An interesting line of modeling tools, DSPIAE, appears to be a subsidiary of Meng, a relatively new Chinese plastic model kit company. See:; DSPIAE. 

IMHO, shellac is an excellent option as a rigging "fixative."  Shellac comes in a wide range of colors, generally shades of "garnet." It's not a good option for coloring line, though, because the pigment is carried in the alcohol solution, so the more shellac you apply, the darker the color will get if you are using unbleached shellac. That makes it somewhat difficult to get a consistent shade of color with it when applied here and there on a piece. The type to use has the color bleached out of it. It's called "clear" or "white" shellac. It's invisible when applied. Best to address the desired color to the underlying material and use clear shellac for securing knots. I expect fine furniture makers may have a reason for using flake shellac and mixing their own with alcohol, but I've never seen the point in messing with raw shellac in flake form when it can be so easily purchased already dissolved and ready to use. 

Mahl sticks are routinely used by sign painters. A skilled sign painter uses his mahl stick not only as a secure rest for the painter's hand, but also as a guide for the brush. By resting the heel of the brush hand on the mahl stick and moving the end of the stick in an arc, a true curve can be quickly and very accurately made. Similarly, the stick can be held in position and the brush in hand, or resting on the stick, can be moved across the painting using the mahl stick to yield a perfectly straight line.
 
Actually, I've never seen a mahl stick used such that it rested on the painted surface of the piece. The padded end of the stick could smear the work unless one waited weeks, if not months, for the oil paint to solidify. I've only ever seen the padded end of the stick placed on the working surface at the edge or margin of the work surface. (Some mahl sticks have a "hook" at one end so it can be hooked over the top edge or side edge of the canvas.) On a larger painting, the sticks can get pretty long to accomplish their use without placing the end in wet paint. Some fancy ones are even telescoping for ease of storage.
 

 
 

It looks like they have much "hihger" demands for their modeling than they do for proofreading their advertising copy!  
 
An interesting line of modeling tools, DSPIAE, appears to be a subsidiary of Meng, a relatively new Chinese plastic model kit company. See:; DSPIAE.