rybakov

final_6179f4f2a05b1b0085b9799a_477588.mp4 la couronne sailing-0.mp4  

la-couronne-sailing-0_ZYw1vF0S.mp4  
so kind...i don't have it anymore, but i'll put what images i've saved here if they'll fit 🙂
















20210704_144738.mp4



couronne sailing.mp4

I got mail today, fresh off the press, from Kerry Jang in Canada:

Victory, 100-gun First Rtae 1765, Seaforth Publishing.

The book is part of a series ShipCraft and is number 29.

The book deals with Victory model kits and is aimed specifically at modelers. Besides history, it presents the available kits from 1:1200 to 1:64 in the full range of materials, gives an overview of the current aftermarket and presents 3 built models. A larger article goes over the various appearances of the ship and ends in new overview drawings, done especially for this book by McKay.

I have yet to analyze the historical and appearance part at times, but know that Kerry Jang has talked to a great many protagonists of the Victory scene.

Personal notes:
- McKay´s AOTS was my first stop on the way to Victory. The color on the book´s pages were watched pale ever since.
- I stood in front of the first of the 3 models presented in the book at the convention in Rochefort with my mouth open, jaw to the floor: the 1:300 version by Etsuro Tsuboi. Breathtaking!
- The second model of the Victory is 1:48 by Kazunobu Shirai and it was the first model of this ship that I fell in love with over 15 years ago when I started doing internet research on this ship.
- And the third model shown is actually the little fatty one with bumble bee stripes by a certain dafi :-0

Never, really never would I have dared to dream of ending up with 3 of my heroes in the same book!

Thank you Kerry for that opportunity!

Dear greetings, DAniel

Making the yards - Main yard - Grande vergue
Before starting to make the yards, I made myself a planing jig in advance, inspired by Ed Tosti's build report for the clipper "Young America" in the MSW, as shown in the drawing below. Rotating and locking clamps allow lumber of various widths and lengths to be fixed in place for machining, especially with a wood planer. 
 
To make the main yard, I prepared a drawing with dimensions based on the plan by J. Boudriot.

 
The next two pictures show how the holding device mentioned at the beginning of the report can be used in practice. 
It performs valuable services in the manufacture of yards. For example, a wooden strip with a V-shaped groove was clamped in place. A square timber inserted in this way can easily be planed into an octagonal timber. In this case for the main yard and later for the leeward spars. These timber blanks are then much easier to machine on the lathe. In addition, they are used to roughly preform the octagonal areas of the yards or studding sail booms. 

   
With the following pictures I illustrate the further processing steps in the yard production. 



       
In contrast to the main yard, the studding sail booms are much more delicate logs with diameters of 3.7 to 2.2 mm, which had to be machined. So that this succeeds also without breakage, I built for this with simple means a small steady rest. With this I can bring small ball bearings for round timber with diameters of 1 - 10 mm into position for support. In the meantime, the small tool has already proven itself very well. 

On the last picture you can see the first results.

 
To be continued ...

 
 

Hello colleagues,
I am very pleased that despite a long break there is still interest in the progress of my model.
A hearty thank you for it.
Completion: Standing rigging for jib and outer jib boom - Bâton de foc et bâton de clinfoc
After the final work on the standing rigging for the jib boom and the outer jib boom, I can also finish this chapter. So the standing rigging for the French corvette is finished except for a few minor details.
Accordingly, here are a few pictures that give an overview of the bowsprit rigging.


 




 
 
Soon I will dedicate myself to the production of the yards. So I am looking forward to work more intensively with wood again.
To be continued ...
 

@Wishmaster
Thank you vor the kind words. And to all the others, thanks for the LIKES,
 
The days are getting shorter again, so the times spent in the basement shipyard are getting a bit longer again ... 😁
 
Continuation: Standing rigging for jib and outer jib boom - Bâton de foc et bâton de clinfoc
This is a continuation of my last construction report.
To finish the rigging work for the standing rigging of the bowsprit with the jib boom and outer jib boom, the jib boom and flying jib boom stays still had to be fastened. The jib boom was stabilized laterally with two jib guys on each side, one of which was fixed by means of a tackle.
 

Source: Monograph La Creole by J. Boudriot p. 129
 
For the detail of the tackle I followed the model of L'Inflexible and the Atlas du Génie maritime.
 

Source: Extract from Atlas du Génie maritime, annexe No. 1, Pl. 10
 
Attached are two pictures of the implementation and the completed tackles, consisting of double blocks. The ends of the jib guys are then fastened by means of thimbles and seizings.


See you soon ...
 

Thank you, Kevin.  Despite this incident, I still love loving in a big city.  I grew up in the suburbs, and that was great until it wasn’t anymore.  Still a nice place to visit, though.  As for astronomy, it seems as though astrophysicists are making quantum optical strides all the time.  I’d hold onto those telescopes, too, but then I’m loath to throw anything away!
 
So, I’ve spent the past few nights mapping and templating card patterns for these headrail support structures.  Anyone who has been following this build can attest to my love for lamination, and these parts will be no exception;  each station is made up of three layers of .030 styrene card stock.
 
The method will become clearer in subsequent postings, but the primary challenge - once again - is coping with a similar trapezoidal asymmetry in the bow, as in the stern; the starboard side of the beakhead bulkhead projects further forward than port.  Co-incidentally, it is also the starboard side, at the stern, that projects further aft.  How the starboard side ended up so considerably longer than port, when the mid-ships ladders were my alignment point of reference - I will never understand.
 
Anyway, as any good field carpenter must do, this will be about making the installation appear correct and seamless.
 
A few pictures:

With a centerline drawn on the cardboard, as a visual check against the center of the stem, I found the distance to each headrail, working one side of patterns at a time.  I also marked the bottom of the lowest headrail, and just above the midpoint of the middle headrail on each pattern.  This enabled me to map the scalloped pattern on the undersides of these supporting timbers (as well as the cambered uppers) so that they ultimately extend out beneath the underside of the lowest headrail.

As I first drew the interior scanting of these structures, they were much too heavy and there was no reasonable transition from rising timber to vertical timber.  I wish I had taken pictures to show the difference, but I did not.  I consulted JCL’s St. Philippe monograph and was rewarded with a much better impression of what these structures should look like.  It bears mentioning that these structures are still oversize, so that I can fair to final form after lamination.
 
Keen eyes will observe that one side rises higher (about a 1/16”) than the other.  This is one result of the asymmetry that I am referring to.  It can’t be fixed; only mitigated.  Fortunately, from any viewing angle on the finished model, the combination of gratings camber and consistent alignment with the middle rail on both sides will mask this deficiency.  Proof of concept may prove me wrong, but I’m pretty confident that if I weren’t pointing this all out - it would not be obvious to even trained eyes.
 
For the time being, though, I am pleased that my patterns are glued and ready for wasting:

In other works, these fair maidens are rounding into form:

They’ll have to see a podiatrist, but then - don’t we all?
 
As always, I appreciate the support of everyone who comes to visit this page.  Thank you all very much!  More to follow.

The past month has been quite a ride; painting, packing, moving, start of school for kids, COVID for my wife, sick kids, unpacking, and an un-provoked subway assault (I got lucky, ‘am fine, but I had a really sore jaw for a week, case pending) - after all of that, I kind of lost my mojo for the project.  The ship has just been sitting, locked up in its travel box, and waiting while we configure this new place.
 
Last night, I took the ship out to retrieve the starboard headrail.  Very slowly, I did manage to remake that horse carving, so today, I flushed-up all of the edges and finished that aspect of the project:


Weeks ago, when I was trying to tuck this headrail in, behind the figurehead, I was a little overzealous and removed too much material at the wrong angle.  I added back a little plastic, here, to make a good joint:

What has lit a little fire in me is the awareness that the 40th Annual Joint Clubs Meeting isn’t that far away.  My home club, The ShipCraft Guild of New York, is hosting and we are in the planning stages with the hope of putting on a really good show, in this anniversary year.
 
And, so, I have set goals for the project before the show.  I would like to have the entire head structure assembled and painted with all accompanying ornament.  I would also like to have the third balcony tier, in-place.  If I really get moving again, perhaps it is possible that I will have at least the outline of the tafferal in-place.
 
As I would like to construct cambered head-gratings, it is fortuitous timing that Chuck Passaro happens to be designing that structure for his Winchelsea group build right now.  His sequencing of assembly has helped me to clarify my own modified approach to building this structure, and I will soon get started on making that happen.
 
On a tangentially related note: I am always on the look-out for 17th Century drawings and I recently discovered very clear images of the sets for this Swedish ship, The Kronan:



There are so many interesting things about this set.  One can see that this is a Swedish ship because the Royal coat of arms with three crowns (as opposed to fleurs) is centered on the upper balcony rail.
 
Each drawing is inscribed in Swedish and translates to:
 
“Drawing of the ship Kronan written by Francis Sheldon 1660s”
 
Now, it is true that Francis Sheldon was contracted by Sweden to construct this huge three-decker for their expanding navy, in the late 1660’s.  The Baltic remains of the ship still bear witness to the heavy English influence of Sheldon upon her architecture.
 
This ornamental set, however, has absolutely nothing in-common with English design or ornamental practice.  In fact, apart from the coat of arms, everything about these drawings is distinctly French and very specifically the hand of Jean Berain.
 
Consider the following sets for Le Fleuron and Le Terrible:





And so, it is curious that these drawings would be marked as the hand of Sheldon, when at least one near contemporary portrait of the Battle of Oland, paints a very different picture of the Kronan, at the moment of her loss in 1676:
 

It makes more sense that the Kronan would have had a round-tuck stern, and that her side galleries may have been more similar, in structure, to the Sovereign of the Seas.
 
My guess is that, perhaps, the Swedish crown had plans to build a second Kronan in the 1690s, and had contracted Berain to produce an ornamental proposal.  As far as I can find, though, the original Sheldon Kronan of 1672 is the only Swedish ship to carry the name in the 17th C.
 
Anyway, it is all interesting to look at, and to consider that Berain may have been reviving the twist-tail tritons of Puget’s style, later in the century.

I think what Kevin is suggesting is a very good idea - to mock up some samples, so that you can play around with different mediums, and get comfortable with what they can do.  I did a lot of paint samples in the early stages, and that is where I acquired most of my knowledge about this kind of distress painting.
 
I can’t speak for the inks that Kevin has been using for his CS, but the walnut ink I’ve been using is extremely forgiving.  I apply it dilute, but strong, and simply cut it back with a wet brush until I like the way that it dries.  This is tricky to get just enough shading, but over time I’ve gotten the hang of it.  I continue to tweak the ink, with each new level of the stern, and will do so until it all gets sealed under a final coat of Matte clear.
 
As Kevin says, artists’ oils are amazing for creating depth and texture, and they are extremely forgiving.  I use them for my natural wood effects, and really like how the decking came out.  Van Dyke Brown (Windsor and Newton) gave my ventre-de-biche (raw sienna) painted sides (above the black boot topping) a pleasing patina.
 

You just lay it on thick and heavy and then wipe it back until you are happy.  I wrap q-tips in t-shirt scraps, so that I can get pretty far into recesses, but not all the way.  After wiping, I use a coarse chip brush (natural bristle) to even-out the effect.  I learned all of this from Herbert Thomesan of Artitec Modelbeau, in the Netherlands.  A lot of the Dutch builders use this technique and it is astonishingly easy, forgiving and produces excellent results on the first try.
 


My one piece of advice would be to do both hull halves at the same time.  I did one, and then the other after a period of time, only to realize that the second half was significantly darker.  The paint had cured by the time I really saw this in good light, so I had to wash the first half a second time to match.  On my model, the finished effect is darker than I would like, and most people mistake the effect for natural wood, but it is really supposed to represent a painted surface on the actual ship.  This doesn’t bother me, though.  I learned something.
 
Mostly, I learn from all of you.  Three projects stand out, in my mind, for their absolute fidelity to nuance and detail.  In no particular order, they are:
 
Michael, aka SafeMaster’s Reale:
 
 
Gary, aka FriedClams’s Stonington Dragger:
 
And Kirrill, aka Kirrill4’s Spanish Galleon:
 
At some point in the future, Kirrill will dive into his own Heller SR, and I’m really excited to see what he will do with it.
 
I have some idea of what I am doing with my particular subset of paints, but these gentlemen bring a very broad range of technique and knowledge of correct details and realism to bear on their projects.
 
Another master of painting technique, and scratch-building is Rex Stewart.  I don’t think he maintains a presence on MSW, but he can easily be found on-line.
 
Of course there are numerous other Uber talented builders and painters (Dafi, Blue Ensign, Moraine to name just a few more - I could go on, but the list would get very long), but the above really stand out for the breadth of techniques that they apply to each project.
 

I think, in general, a ship is a ship in any country or Navy.  There is a very definite evolution in rigging practices throughout the age of sail, but for the most part within any given era most countries were doing the same things.  If a change worked for one it was pretty much appropriated by all.
The functions of any particular spar or line were the same for all ships.  That is why a trained sailor could be employed anywhere, for any country.
 
There were minor differences in the peculiar shape of things or the ratios of sizes.  In fact, there were differences from one naval architect, or shipwright, to another.  You would even find differences from one sailing master to the next on the same ship. Or one captain to the next.  That was the process of innovation. If what you tried worked well enough it would be incorporated into the next vessel.
 
Regards,

Well, similar within eras, but SR and Victory are over 100 years apart from each other, so the rigging is going to be radically different.
 
One can rig the Heller kit according to its instructions and end up with something reasonably representative.  There are, however, a number of details that defy common sense and/or any sort of reasonable fairlead.
 
If one wishes to hew more closely to real practice, it becomes a process of mapping out each line for it’s run and belay point.
 
As for moving, we are leaving Brooklyn to return to Manhattan.  A pretty ideal, semi-affordable opportunity opened up, and it’ll be MUCH better for my kids.

Hi Bill,
 
This is a pretty involved question to answer, and I’ll return to this, in a bit.  I just found out that I’m definitely moving again, this September, so most of my attentions will be focused on that.
 
The quick and basic answer is that there were always country specific differences among the Dutch, English and French, with regard to their ship architecture and rigging.  That being said, there were overwhelmingly more similarities than differences.  Throughout history, One country’s navy would have been predominantly influential over all others.  Because of their shallow waterways, the Dutch architecture is unique to them.  The English and French, on the other hand, had a back and forth influence on each other, as successful ships were taken as war prizes, and those successful design elements were gradually incorporated into successive building plans.
 
Rigging a French 17th C ship is a thorny tangle, but the best guidance exists in the monographed works of Boudriot (L’Ambiteaux 1680), and Lemineur (St. Philippe 1693, and Le Francois 1683).
 
These monographs can be consulted in conjunction with Anderson’s Rigging in the Days of the Spritsail Topmast (which notes some of the specific regional differences), and Lee’s Masting and Rigging of English Ships of War.
 
I haven’t gotten to any serious stage of planning for that yet, myself, but am largely concerned with reconciling whether Heller’s profusion of single-line belaying posts has any authentic claim to French practice.  I suspect that it does not, or at least not to the degree that Heller presumes.

Hi Bill - by all means, the log exists for exactly this purpose.  I am flattered that you would take the time to read through it at all.
 
The overwhelming majority of the model is hand-painted.  The only exceptions are my use of flat enamel rattle cans for my primer base, and the red interior and lower exterior (along the run of main deck guns), which I airbrushed.  Also, I airbrushed the gun carriages, but I still had to brush paint these to get complete coverage.
 
My process is very methodical.  For the upper bulwarks, for example, I masked off everything first, that wouldn’t be airbrushed red; this red is a difficult color to paint over and it would have adversely affected the blues.
 
Following red, I moved-on to paint the larger cerulean blue areas, trying not to make too much of a mess of the frieze elements.  Then, the ultra-marine, and finally the yellow ocher, finishing off with the metallics.
 
Actually, before the metallics, I do my light distress wash with the walnut ink because this cuts the intensity of these colors, while providing a sense of depth and shading to the recessed areas.
 
The paint looks like it does because I am extremely patient.  I thin my acrylics so that they are self-leveling, even if it necessitates as many as 5 passes to get the color saturation I need.  As the work progresses, I do several waves of touch-ups, when I notice flaws in the work.
 
My over-arching thought is that I have spent so much time fabricating parts, that it would be a disservice to those efforts, if I didn’t make the paint as absolutely clean as I am capable of.
 
The paint work takes me a very long time, but I have never regretted the extra effort and attention to detail.
 
The other aspect of this kind of hand-painting is that I have learned to control my breathing and I have figured out how to hold parts and the brush so that I have a stable, and steady base for picking out fine detail.  That is a difficult thing to describe, but something I have arrived at through years of trial and error.

After nearly 8 years of occassional search in various archives and libraries for a digital copy, I have finally been able to locate a PDF version of the subject treatise from about 1685 by Edward Battine.  For those interested in the evolution of ship building and design this would be a nice addition to the collection.
 
Battine, Edward. 1685. The Method of Building, Rigging, Apparelling, & Furnishing His Majesties Ships of Warr, According to Their Rates. https://collections.library.yale.edu/catalog/17268860.   At 60mb the document is a bit too large for me to upload here.   Enjoy!  
 
 

Well, this came out well:

It only took a couple weeks of intermittent effort.  Time to glue it to the starboard headrails:

OH 😐🙁.  Oh, well, I guess I’ll have to re-do that one.  Silly mistake; sure it’s the starboard headrail, but I actually needed the port horse print for the inside carving.  Not a big deal, though.

Good morning and thank you all, you are right Nils a very fast boat.
More photos.
 
 

Just a quick follow up on my last post. I changed the position of the fancy rail after realizing that I originally placed it incorrectly.

Mike

Progress has been really slow lately. I did manage to get the so called newel posts and fancy rails completed. I re-installed the QD rail, but this time I pinned all six posts. All that's left to do in chapter eleven are the swivel gun supports. Hopefully, I will get an adrenaline rush and finish those up soon.

Mike

I'm still working my way through chapter eleven, though the end is in sight. .
 
I've been working on the gangways. The bottom edge of the small platform that sits underneath the breast beam sets the height of the gangway along the waist. I made no adjustments to it. Consequently, the top of the gangway sits flush with the lower edge of the cap rail rather than the upper edge. The gangway probably should have been higher, but I really didn't notice it until after that aft platform was already glued in. Hopefully that 3" step up wouldn't have created a huge problem for the sailors.😁
 
The ladder needed to be tweaked in order for it to sit somewhat in line with the deck planking. To do that, I reduced the depth of the top of the aft side (see below). I just needed to be careful not to take off too much.
 
You might have noticed that the QD Rail is missing. After leaning on it, I removed it while working on the gangway.

I found that the knee angles where basically one size fits all, but incorrect for my model. The disc sander took care of that.

 

Mike

Good morning and thank you all for the likes
More photos.
 
 

You will see that it will be a beautiful journey and also of difficulty, because it is a very challenging model, if you need you only have to ask, if I can I will gladly help you.
Vedrai che sarà un viaggio bellissimo ed anche di difficoltà, perché è un modello molto impegnativo, se avrai bisogno devi solo che chiedere, se riuscirò ti aiuterò volentieri.
 
Good morning and thank you all for your messages and likes, 
More photos.
 
 

Good morning and thank you all for the message and likes, I will continue with more photos.
 
 

Good morning and thanks to everyone, making the various details so small was a real challenge for me, however, I really enjoyed it.
More photos.

Good morning and thank you all, the lifeboat was very challenging because of the small thicknesses.
I will continue with more photos.
 
 

Good morning and thank you all, I will continue by putting some pictures of the lifeboat.
 
 

Good morning and thank you all for the likes, you are too kind, I continue with the photos of the kitchen, the new base for the shrine and the oar stand.
Un saluto.