rybakov

Part two of my vacation begins this Friday.  I will try to airbrush the red base before I leave, so that maybe I can lay down the blues and get a start on the yellow.
 
I really like how the whole thing - the stern extensions, the frieze and port enhancements - all homogenizes under a layer of white primer:

 
Painting this piece will be a marathon, but perhaps I will at least have the complete port side ready for the show.
 

 
All the best, and thank you for looking-in!

It has been about two and a half weeks of very focused and intensive paint work.  The starboard, forward bulwark is fully painted, and I have the base colors down for the port side.  Here is an illustration of the effect that the walnut ink has in muting the intensity of the base colors:


 
These pictures give a sense of the difference, but the effect is more clearly apparent, in person.  The brown of the walnut ink lends just enough of a green cast to the lighter, cerulean blue to better approximate a period French blue.  It also has the effect of transforming the darker cobalt to more of an ultra-marine shade.
 
The following closeup gives a good sense for the interplay between the darker old gold and the brighter gold used to highlight all of the larger ornaments:

 
It is also more apparent in that picture, the way the ink gets into the moulded depressions of the yellow ocher trim; they dinge-down just enough to have credible depth.
 
While it may or may not have been a feature of actual practice, in the 1680s, I have made an artistic decision to incorporate silver leaf into areas of the ornamental program where it adds emphasis and clarity to the carved works.  Here, I’ve decided to highlight the under reliefs of the acanthus branches:

 
I am pleased with the dolphins, and even used silver to pick-out the eye relief.  One thing to note, this is the one dolphin hancing piece where the hancing moulding is located properly beneath it; on the aft bulwarks, owing to the layout of the sheer steps and the timberhead railings, that is not the case.  I included the mouldings there, anyway, because they added more than they detracted from the overall design.
 
Well, after very much retouching, this is the highest quality brushwork I can produce.  I will methodically continue along this path, right up to the show in October.  At the least, I am hoping to have one full broadside installed.  We’ll see.  It is a very busy summer, and the days and weeks are just ripping by!
 
Today, I am giving myself a little break from painting, and am making the hanging knees that are just visible beneath the break of the quarter deck.
 
Thank you all for looking in!

Thank you guys so much for your kind compliments!
 
And, so, the elephant eating contest goes into full swing.  Fortunately, because I was such a good little brother, when we were kids, and I let my (now) superstar makeup artist sister use me as a hair and face model, my sister has agreed to let me borrow her airbrush and mini compressor that she sometimes uses to apply makeup.  One hand washes the other!
 
Buried, somewhere in the boxes from our move to Brooklyn, is my own Badger airbrush, but for the life of me - I can’t find it.  Anyway, it has been such a wonderful rediscovery of the magic of airbrushing.  There is simply no better way to paint broad, highly detailed surfaces.
 
Early returns on the forward bulwark pieces are looking very good, so far.  I was careful to mask off the monogram escutcheons - the crossed “L”s - because an undercoat of red would make the cobalt look dark and purplish - definitely not what I’m after.   I am also very pleased that I took the time, during the modification stage, to engrave plank lines between the main deck guns.
 

 
Without a doubt, it will always be the yellow ocher that is the most time consuming stage, but I have determined that a 2:1 ratio of paint to tap water is the perfect viscosity for even application with good coverage.  It still takes 2-3 applications, over a color like red, but that is far better than the 6-7 I was averaging before.
 

 
The most fiddly painting is the timberhead trim that I applied to box-in the timberheads.  It is exactly as tedious as painting a picket fence:
 

 
Eventually, the walnut ink wash will work its magic to lower the volume on these colors, while adding depth and dimension to the surface.
 
Whereas, in the past I cringed at the thought of traveling with these fragile, bigger parts that I already have invested a huge amount of time in - I have now acquiesced to the reality that that is the only way I will be able to jam-in the number of hours it will take to cross the finish line (of this build stage), by October.
 
Wish me luck!

‘Much appreciated, Michael!
 
Well, it was a sweltering and otherwise frustrating day, but I managed to finish painting the stern gallery bulwark.  My moment of zen:
 

 
Interestingly, the brighter gold highlights only seem to pop in muted natural light.  The monogram escutcheons were interesting to paint because the carved detail is incised; I first fed gold into the V-channel, and then veeery carefully painted the cobalt color up to the edges.  I can’t say with absolute authority that this color scheme is completely authentic to the times, but it does make for a very vivid display.  It is just time consuming.
 
I have three complete months until the Joint Clubs conference in New London.  Completing the bulwark painting and installing them in time for the show seems like a daunting task.  The paint work must be impeccable in order to show the frieze and amortisement to best advantage.  At the least, maybe I’ll get one completed broadside.
 
I will try.  We shall see.  

Thanks imanewbie
 
I made a fatal mistake at the last step and the sleeves were broken.It seems too fat, the head may be too big, uncoordinated. It needs to be optimized again.

 

Thanks  Erebus and Terror   Nils   Mark     Gaetan Bordeleau    and   Hubac'sHistorian!
 
I finished second steps, because my machine is 4 axis, so many parts need to be engraved again.
In general, Maybe i can get better sculpture by using new model new processing program and the V type milling cutter.

 

 

 

If the eyeball is to be engraved, 0.1mm V type milling cutter is needed, but I use 0.3mm milling cut now.
 
The rssult of the left arm after additional carving.
 

After an another project, I will write a new processing program and re - engraving the figure-head with  V type milling cutter.I also modified two errors and the face （head),more finer engraving results can be obtained by using the V type milling cutter.

Although some busy, I still took the time to make the fifth figurehead, a little bit of regret is that some of the flaws of wood
Cn processing out of the sculpture is quite accurate, basically the same as the design,because it was not polished yet, so looks more rough.

 

 

 

 

 

 

 

 

 

Because of a small mistake, the first attempt ended in failure, but there were also some gains.

 

 

 

 
The second production has begun...
 

 

Hello to all!
For my poor English ,the following was translated by software and maybe have some grammar or other mistakes .
The plans of L'ARTÉSIEN were purchased from France in last year,the ship is so beautiful and i want to make it(into a ship model) by cnc.
 

 

 
First I scan the drawings,then make it into 3d model or 2d Vector graph,Then NC engraving,Including 2D and 3d kits for example frames/figurehead...
My project starts from the stem and the main material is pear and jujube...
This process is almost all CNC machining, manual only assembly and polishing...
 
 

 

 

 

 
some photos of  Actually produced...
 

 

 

 

 

 

 

 
mill on double sides
 

 

 

 

 

 

 
The two faces are basically the same
 

 

 
Double sides milling of bow special parts...
 
The following is "no bridges"

 

The previous production was "have bridges" As shown below...
 

 


 

 

 
pre-assemble...
 

 

 

 

 

 

 
The figurehead ...
3d model
 

 

 

 

 

 

 

 

 

 

 
Although not very similar, I have tried my best...
NC machining programming and simulation
 

 

 

 

 
Preparation materials
 

 

 

 
It will take some time to process the finished product
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

Hello,
Thanks for your interest.

With the completion of the bowsprit all masts are made.

Here are pictures of the model with the temporarily employed masts.

 

Hello,
before I go on with the report, I would like to thank you for your interest and compliments, also for the LIKES.
The bowsprit is ready so far except for the rings for the font fish. The dolphin striker for the La Crèole was forged from iron. The jib boom and the flying jib boom have now been made.
Here are some pictures:

Hello,
many thanks for the stimulating comments,
and also for the LIKES.
 
The last details on the masts are made.
These are hoops around the lower masts with holders for pins,
so-called spider bands.
The holder was made of brass investment casting.

The left fragment of a hoop is a failed attempt.
The right hoop looks much better, right?

Hello,
meanwhile, I've made some small progress:
I turned the supporting bodies for the mastcoats on my Unimat.
The tarred canvas I imitate by fine silk that I dyed black with poster paint.

@JOUFF
Hello Patrick,
many thanks for your nice note.
@All
Thanks for thumbs up!
 
Today, I report on the final work on the masts.
The last rings were installed at foremast.

The next three pictures show the finished masts. Beside this are the top masts.


 
 

Hello,

thanks for your interest and the LIKES.

Today I show you the completion of the main mast.
The fontfish, the cheeks and the mast hoops were attached.



 


Lastly, an annular holder for belaying pins still has to be made.
Each mast receives one of these holders. Per holder requires 10 pieces of belaying pins, thus a total of 30 pieces.
This holder is built according to a drawing from the Atlas du Genie maritme, Plate 234, as seen on the following excerpt.

Hello,
Thanks to all for the interest and the nice comments.

To finish the lower masts I have to make the iron bands.
This I made from strips of brass sheet 0.3 mm. To attach the frontfishes there are two-piece hoops.

Hi Thomas,
thank you for your nice comment.
Thanks to all the others for the LIKES.
 
In the meantime I made the fittings for the Mainmast cap.
After all, these are a total of 30 parts.
The other pictures show the finished Mainmast cap in different views.




 

 
 

Hello,
thank you for the comments and, of course, for the LIKES as well. 
 
Today, I present a small update.
The cap for the Mizen mast and the Cheeks still had to be equipped with fittings.
Here are some pictures. I hope you like them..
 

Hello,
thanks to all for the attention and kind comments.

In the meantime, I made the cheeks for the masts.



For the Mizen Mast they are ready made.

First of all, I would like to thank you for your supportive comments and for the LIKES.
Let us remember
LINK
Meanwhile, I got the etched parts for the weather vanes delivered.
I immediately went to work,
and built the weather vane with lightning conductor for the mainmast top of the La Creole.




 
 
In this context, I would like to mention this report on the lightning control of sailing ships. There are many parallels to the lightning conduction of the La Creole.
 

 
I have also worked on the topgallant masts. Here are the results.




 
 

The etching parts for the weather vanes have not yet arrived.
Meanwhile, I continued with the fittings for the topmast caps.
 

Hello,
the continuation of the report is about the fittings for the topmast caps.
The iron bands must be fitted with bolts and square nuts.

To make this detail with 0.75mm / 0.75mm square nut and a 0.4mm diameter bolt, I chose the following method as shown in the pictures.

 

Hello,
thanks to all, for your attention. 

After finishing the tops, I continue with the royal masts.
The French Corvette had a weathervane on every royal mast.
Here are some pictures:



Whether this corvette also had lightning conductors is in this context
quite a legitimate question.