rybakov

The aft bulwark is in!  I’ll do a multi-perspective photoshoot after everything is prettied up, just before the show, but here’s a sneak-peak preview that illustrates the improved tumblehome:
 

 
The three gusset supports make for a very sturdy construction!
 
I’ve also begun patterning the new channels.  The Lemineur monograph for the SP is a great help with these small details:
 



It is hard to photograph, but the new channels are tapered for watershed:

 
I’ll have to layout the shroud and stay locations, in relation to the guns.  There’s a possibility I may have the main channel in place for the show.

And here a picture I was looking for: HMS Superbe 1842 with possibly double breeching line.
 

Hello Alan,
 
thank you for the feedback. 
 
The preventer breech line was installed on my model at the times as Goodwin has reported on this very convincingly and that all 24 and 32 pounders should have one. Also it was installed on the ship in Portsmouth.

 
But as quite often he lacked the sources. At least me and many others did not find a final conclusion. Here are the few hints for that topic:
 
David Steel in 1796 "Art of rigging" states this:

 
Sea-Gunners Vademecum von Robert Simmons, Verlag Steel and Company, 1812

 
But with these sources I did not find out if this was for action or bad weather. Saumarez on the Orion ordered "extra breech ropes" to be fitted before a storm in 1798. Harland also describes this use. 
In 1826 Johann Wilhelm David Korth shows how to link multiple guns in his book "Schiffbaukunst"  
 

 
 
 John Masefields mentions the preventer ropes for action in "Sea life in Nelsons time" but this was only in 1905 ...
https://archive.org/details/sealifeinnelsons00maserich/page/n61/mode/2up?view=theater page 39
 
Also the captain of the Little Belt reports of double breeching lines in 1811 but this was for the double shotted carronades. https://ia600404.us.archive.org/8/items/cihm_20959/cihm_20959.pdf
 
Also in 1855 Sir Howard Douglas "A treatise of Naval Gunnery" mentions on page 415 the preventer breeching rope on the carronades of the Shannon.

 
 
 
Also have a look at the lay of the breeching rope in the first picture, it is layed the other way possibly for more flexibility. I think this was changed ever since I took the picture - as was the messenger 🙂
My believe is that this is based upon Nares in 1862, otherwise I did find no mention of this fact yet.

 
 
 
Does anybody has further sources upon these topics? Especially for the preventer breeching lines for the big 24 and 32 pounders in 1805.
 
XXXDAn
 
PS: One picture still giving me some confusion is the quarterdeck of the Venurable. Look at the double (?) breeching line on the larboard guns. These are omitted on the starboard side ...

 

Dear Alan,
 
also thank you for the hint for the 2 eye bolts. It is a reminiscence upon the carriages displayed in Portsmouth 😉
 
I had a look into my sources. First of all William Rivers Gunner of the Victory does not display these ones 🙂

 
Also the best hint are always the artifacts, one of the best is Thorsminde St. George, nothing to be seen too 🙂

All other contemporary plans or drawings of 1800 +/- do not show them either. Drawing of the HMS Venerable from NMM.

 
The confusion starts after 1820+, where these eyebolts start appearing in paintings and photographs.

 

 

 
Also the french heavy guns had these eyebolts.

 
As seen for the sources approx. 1800 I will omit these bolts confidently on my Victory 🙂
 
All the best, Daniel
 
 
 
 
 
 
 
 
 
 
 

Here are the results of some of my research. Even though the preventer breeching line - as propagated by Goodwin - is still quite doubtful to me, I tried some different ways for the tackles as shown already in the contemporary sources mentioned above.
First was to determine the length the tackle has that is really needed for the full compliment
of gun crew pulling on it.

 
In my opinion very important: Give the tackles stopper knots at the backwards blocks, the carriage or the cascabel if none of the crew holds it!
Otherwise the gun will run loose ...
Also all trials of arranging the tackles will be useless in a minute or after the first wave. Also do look that the rope has a realistic slack in it. Often seen are tackles coming out of the unsecured block and running in a straight line into a flemish eye, no way of reproducing that in real life 😉
 
Here are my favorites. V1 or V2 are for "prepared for action", V3 and V4 much more for run out but secured guns.   
V1 tackles laid in flakes beside the gun, keeps clear the passage behind the gun
V2 tackles laid in flakes behind the gun, keeps them clear the breeching line and in position for the crew to grab it.

V3 tackles laid in flakes over the barrel, gun run out but secured, as seen today on Constitution

V4 tackles laid in flakes over the barrel as V3, but with a seizure to keep it arranged
That is the version I opted for in my display as these guns are secured but run out and it keeps clear the floor.

 

 
Also already discussed how much the sponge and rammer point out the port, just see here:

 

 

 
And action 🙂
 

 
XXXDAn

The particular challenge of erecting the aft bulwark pieces is that I don’t have the stock stern plate, in place, to guide their placement.  It is helpful that the forward bulwarks are in place, as they provide an anchor point, but they do nothing to help establish the slope of tumblehome that should be present.
 
The first step was to spend as much time as necessary fettling the lap joint to ensure that the part seated snuggly, along the upper main wale.  With that much established, I could secure additional glue tabs to the inside face of the bulwark, just as I had done with the forward bulwarks.  It was also necessary to fir-out, behind the upper main wale, so that these glue tabs had a firm landing spot.
 
Whereas with the forward bulwarks, I glued the bulwarks in-place, and then secured the gusset pieces, afterwards - the process reverses for the aft bulwarks because it is the gussets that establish the slope of tumblehome by providing a positive stop to clamp against.
 
At the very beginning of this project, I drew the transom by simply tracing the outer profile of the bulwark ends to the increased breadth of the transom; the additional 1/2” would enable me to add the missing 6th window at all three levels.  This was my initial drawing:
 

 
As a side note, it is funny to look back at my first attempt to draw the quarter galleries; the results were poorly scaled and relatively crude, as I was attempting to include all five false windows along the lower tier if the QG.
 
Anyway, at the time that I made this drawing, it was pointed out to me that the top of the bulwarks appear to flare outboard, again, at the very top.  Back then, I was not too concerned about this.
 
At this stage, though, I can see that the finished bulwark piece does not look right at all, if I allow it to flare out at the top; the whole upper structure of the ship changes in a way that is neither pleasing, nor reflective of actual practice.  The only thing to do, here, was to shape my gussets in a way that would pull these bulwarks in more, thus providing a nicely sloping tumblehome.
 
Frankly, this is more art than science.  I simply manipulated the bulwark, inboard towards the centerline, until I had a pleasing profile.  I then took a measurement from the bulwark rabbet to the centerline, along the bottom edge of this window tier: 1 1/2” to center, and 3” overall.  This seemed like it would be adequate.
 
So, I clamped and taped the bulwark in this attitude, so that I could make card gusset templates.  I then made the gussets with all necessary beveling, and added a prop leg to make them a little stiffer for the eventual glue-up of the bulwark piece:
 


 
I went to bed feeing really good about this.  The part would have some minor tension, but I had increased glue surface area significantly enough to cancel out those forces.  In fact, there will be a third, aft-most gusset fitted after the glue-up.
 
Then, I woke up the next day and remembered my original layout drawing.  I took some measurements and found that I had effectively reduced the available space for this top tier of six windows by 1/4”.  In fact, my new stern, at this top-most level, won’t be much broader than the stock kit stern-plate, which only has five windows.  I began to feel a bit of panic creeping in.
 
Before glueing-in the bulwark piece, I thought it might be prudent to take some really good measurements, and do a little drafting to see what a revised window layout might look like.  One quarter inch doesn’t sound like much, but it is quite significant across this short span.  If I found that the reduced breadth resulted in a cramped window layout, I would be forced to buy back at least an 1/8”, in breadth, thus compromising my ideal tumblehome.  This would require very fiddly firring of the gusset pieces I had just glued-in, so my fingers were crossed tight.
 
Here is the new layout that I arrived at this morning:
 

 
And here, I’ve detailed one pane to get a better sense of the proportions.:
 

The original by Berain:

 
Mine isn’t the best drawing, but it’s good enough to get a sense of proportion.  I’ll do a much better vellum drawing, when the time comes for it.  I found that I only had to reduce each window pane by 1/32”, and each pilaster by a heavy 1/64” to get back the heavy 1/4” I had lost.
 
And so, I will go ahead and glue-in the upper bulwark, in the next few days.  I’ve been busily filling the skid joins, touching up the bulwarks, and establishing the location of the mizzen chanels.  A whole lot still has to happen in the next two weeks, but I am confident that I will be on-track for the show.
 
Thank you for stopping by!

Ratlines for the topmast shrouds 
The topmast shrouds were thinner than the lower shrouds (comparison on the model: Fore mast shrouds ø 1.08 mm / fore topmast shrouds ø 0.66 mm), their ratlines are also to be made with smaller diameters in proportion, which is the result of earlier research.

 
Some time ago, I tried to clarify whether the required eye splices could be made with a thickness of ø 0.25 mm. For this purpose I made a splicing tool with a smaller diameter ø 0.8 mm, as shown in the next picture. 

  
The fake splice (2x sticking through) with a dew thickness of ø 0.25 mm was already quite successful at that time. 
In the following picture you can see the comparison of the ratlines thickness again.I don't like the simpler alternative version with knots, because it is too thick and doesn't correspond to the original version.
 

In the meantime I have found the time and muse to make these filigree ratlines with the fake splice directly on the model. It has to be said that this is an extremely difficult job, but it can be done. In my opinion, the result speaks for itself. In this respect it is worth the effort.

 
But now we will continue with mizzen topmast stay. I still have to find out how it was attached. 
I would be very grateful for any information. 
See you soon ...
 

@jdbondy
Many thanks !

In the meantime, the rope for the mizzen topmast stay was made from fine silk yarn, three strands are laid up right handed to form a hawser laid rope with ø 0.77 mm in model scale, which corresponds to ø 37 mm in the original.  A guide collar was also made, as for the main topmast stay, to guide it down along the mast for attachment.
As already mentioned for the main topmast stay, this detail needed further clarification, which has now been done. Behind both the foremast and the mainmast was a set of guide blocks, which were carried on an iron rod. The respective stay was attached in the middle to this iron rod, which was fastened to the deck with three holders.For this purpose, the iron rod was inserted through the thimbles tied into the stays.
Here you can see the binding of a thimble:

The following three pictures show the mizzen topmast stay from the top to the attachment point:

 

 

 

The following are three pictures of the main topmast stay from the top to the attachment point at the guide blocks:

 

 



To be continued ...

@Jeronimo
Hi Karl,
many thanks for the nice comment.
 
Main topmast stay - Étai grand mât de hune
The main topmast stay of the La Créole had a diameter of 43 mm, which corresponds to a diameter of 0.89 mm in model scale 1:48. I made the corresponding rope from the finest Japanese silk yarn from Yli; 4 x 3 righthanded, and then these 3 strands were laid to the left to form a cable.

 
The next picture shows the main topmast stay with the open stay eye and the eyes spliced into the legs. Next to it is the prepared guide collar with thimble, which is placed around the masthead and then lashed down.
 
The main topmast stay is led through the thimble in the guide collar down to the deck and fastened there. I still have to finalise this detail.
To be continued ...

 

@GrandpaPhil
@Gahm
@allanyed
Many thanks for the nice comments und all the others for the LIKES.
 
Fore topmast stay - Étai petit mât de hune 
According to my announcement in the last post, I am dealing with the topmast stays. So I prepared the assembly for the fore topmast stay. According to my original assumption that a left-hand rope was used here, this is obviously not the case according to my current research. The stay had a diameter of 41 mm in the original, which corresponds to 0.85 mm in model scale.
The fore topmast stay is attached in the same way as the main stay. This requires an open eye. The two legs are spliced into the stay. Finally, the ends receive spliced-in eyes, which then receive a lashing, as can be seen in the following picture. For comparison, I have laid a rope next to it that corresponds to the mainstay.

          
The fore topmast stay was routed on the starboard side of the bowsprit top via stay sheave to the bow for fastening by means of thimble and eyebolt. The area of the stay that was led around the sheave was served.  
     

Source: Atlas du Génie Maritime
 
 
Source: Original model in the Musée de la Marine Paris
 
The lashings for the fore topmast stay have to be applied directly to the model, as it is then no longer possible to pass the rope through the sheave cleat.


 

The next picture shows the eyebolt with thimble of the stay attachment on the forecastle.
 
Here you can see the guidance of the stage over the side sheaves with the served areas.

  
The last picture shows the fore topmast stay on the topmast crosstrees.

     
To be continued ... 

 
 

@mbp521
Hi Brian,
thank you for your nice comment and thank you to all the others for the many LIKES.
 
Here is the continuation of my report:
I imitated the leather lining of the caps accordingly.I use real leather with a thickness of approximately 0.25 mm. I split the thinnest leather I could buy with my own device.

 

 

 

Hello and many thanks for your likes and comments,
 
today I finished the drawing for the upper frieze. I do not know if I should do it this way. I painted all the flags and shields in there original colours. The rest I would paint like the lower frieze in that ocker tone. (?) At some ships you could see it done this way. That would ad a little more colour to the frieze.
 

Hello and again, many thanks for your likes and nice comments, they are very appreciated 
 
Today I finished painting the lower counter. This is the look from below (in this case from above)
 

 
and this from behind
 

 
Next I would paint the frieze left and right from the quarter deck. I would like to paint there trophy bundles. The question here is, should I leave out the gun ports, or the windows? Because the windows are also decorated with wreaths, I tend to paint over the gun ports. But first I have to make some drawings. 

Hello and thank you all for your likes and comments,
today I'm finished the frieze. That was a lot of work, more then expected, but now it's done
 

 

 

 

 

 
The next thing to paint is now the lower counter. 
 
If you like colourful ships, I uploaded yesterday 3 albums of Russian ship models from the 18. century, they have here in the Eutin castle museum.
https://www.schloss-eutin.de They where once a present of the Russian Tsar around 1806

Hey Dan,  These were photo-etch pieces.  I’ll show you what I mean at our ZOOM meeting on Tuesday.
 
Leading into Labor Day Weekend, I realized that I would need to cram-in a ton of hours, if I had any hope of getting where I wanted before the Joint Clubs meeting.  And so, my wife and kids went off to CT to stay poolside, with family, and I got to work.
 
The primary objective of the weekend was to erect the forward bulwarks.  I gave the lapping joint of each bulwark piece a third going-over to ensure absolutely the best fit possible.  Unfortunately, it cannot be avoided that the part will always be under tension, as it must bend significantly to conform to the run of the hull.
 
Anticipating this, I had affixed a styrene tab at the point where tension is greatest.  My glue plan was to cement a welded bond along the rabbet with liquid styrene cement, but also to apply CA to the additional tab for a contact bond that would assist the tweezer spring-clamps that I bought for this purpose.
 
Where the bulwark joins the beakhead bulkhead, I similarly used styrene cement below the forecastle deck ledge, and a spot of CA above the ledge.  There was simply no good way to clamp this corner, owing to its extreme tumblehome, so I used a tape clamp to assist during drying.
 
First, I put some blue tape down to protect the deck from any errant glue drops:
 

 
I also applied two layers of blue tape to the clamp jaws, as these particular spring clamps apply a really strong bite onto the material; I was hoping not to mar my paint.
 


 
For better leverage with the smaller clamps, I made up small styrene clamping cauls that hooked beneath the wales to which they were taped in-place.  As with any significant glue-up, a dry-run really helps steer you away from potential pit-falls; before making the cauls, I found that the small clamps only had a tenuous grip on what is really a very shallow lap-joint.
 
With only a few small gaps that touch-up paint will fill, I ended up with really tight-fitting joints and enough small squeeze-out to convince me that there is a strong welded bond along the part’s entire length:
 


 
The relative mass of the model is becoming apparent now:
 


 
I will say that while the skid segments lined up near perfectly, I will still have to fill a few gaps, here and there, with sanded shims of styrene strip.  This is not a big deal, and I prefer to use plastic, rather than putty, wherever possible.  Also, the squeeze-out is not a major chore to clean away.  I have a purpose-ground #11 blade that works like a semi-sharp glue chisel to scrape away the excess.
 
Now that the bulwarks were up, I could install the gusset pieces that serve a dual purpose: they re-enforce the lap-joint by increasing glue surface area between the deck and the bulwarks.  Also, they will eventually serve as mounting points for my deck beams.  After scribing-in and glueing, the bulwarks became notably stiffer:
 

 
Unlike the lower decks, this time I thought to black-out these gusset pieces, as more light will penetrate below these upper decks.
 
Next, I wanted to final fit the open sheaves I made for the top corners of the beakhead bulkhead rail.  I also wanted to make knees for these corners.  While the sheaves are a contrivance, on my part, to cover for the height discrepancy between the bulwark top rails, these knees were an actual feature of real practice.  Just as they do on a real ship, the knees I made increase surface area and do quite a lot to strengthen the area.  Frankly, I just don’t trust CA to do the hevy lifting of holding these corners together, over time:
 

 
Although it is not readily apparent in the picture above, I simulated the bolt heads that hold these knees in place.  Also, above, I am holding in-place the forward beam ledge for the forecastle deck.
 
So, finally, I’m approaching the finish-line for painting of the aft port bulwark piece.  There is still some gold work to do on the siren figures, as well as the quarter piece, but now the full color scheme comes into clear focus:
 

 
My objective with the paintwork, because I have chosen such a vivid scheme, is to identify areas where I can replicate the same colors and techniques, in order to create a sense of continuity.  All throughout the ship, anything with a fishtail gets painted first with a grey enamel under-wash, and then top-coated with the ver-de-gris wash.
 

 
I also really liked the use of silver metallic beneath a more natural green wash, that I used for the female Four Seasons figures, on the stern.  The siren on the aft end of the amortisement received this particular treatment for her dress, and the wash-coat really highlights the sculpted folds of the dress very nicely.
 
For the face and neck of the quarter piece, I decided to use the same enamel grey wash and wipe-away technique that I applied to the horse-head of the figurehead.  It’s subtle, but it really brings out the small facial features of these sculptures. The four Continental figures will also receive this treatment.  I think it lends these statues a sense of aged neo-classicism.
 
So, soon I will make and fit the gusset pieces for the aft bulwark piece, and hopefully get the whole assembly glued-up and touched-up in time for the show.  Thank you all for the likes, comments and for looking in! 

I managed to get the red sprayed before leaving for the Cape.  We had a wonderful week in Hampton Bays with lot’s of family fun, good dinners, and plenty of medicinal scotch.  I also managed to have a productive week laying down all of the primary colors:
 

 
Unfortunately, in my haste, I forgot to mask off the monogramed escutcheons between the main deck guns.  The centers, which will be painted ultra-marine really require a white undercoat for the color to come out right.  This now necessitated hand-priming of these little ovals.
 

 
I deliberated, from the start of this whole project, whether the red should extend up into the amortisement.  Ultimately, I decided that it made more sense to follow a continuous, banded approach to each of the three primary colors, with the yellow ocher serving as a unifier.
 
The impression of the amortisement is a bit skewed, at the moment, because I have yet to pick out the supporting dolphins in gold and silver.  I took great care to hand-paint subtle edge borders, in yellow ocher, around the triangular panels of the upper section.
 
From here, it is the long, steady march of careful cutting-in, followed by rounds of re-touching:
 

 
Perhaps, above, it is more apparent how my idea to use ultra-marine along the lower band of fleurs, accentuates the scalloped design of the frieze.  This is probably more ultra-marine than would have actually been applied, owing to the expense, nonetheless it is an artistic choice that highlights the effort of making the whole thing.
 

 
Slowly and surely, we are getting there!  As ever, thank you for looking in.

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.