korablik1979

I'm glad if my story is useful for the case

This really unites

Hello, Gaetan.
If memory does not fail, it seems in the first volume Budrio describes limber holl. There should also be a scheme with axonometry.

 
It shows how far these cuts should go. In the drawings in the top view it is difficult to disassemble, especially in the areas of the stems, where the desired line merges with the keel due to the bends of the frames and it is not clear how the limber holes should go. 

 
 
This is a very interesting system.

Especially when compared as a function of drainage was performed in different countries. 
The Dutch were very original. Here it is visible. 

They did not do the cuts, but made additional beams, which allowed the cladding to be fastened so that a slit was deposited to drain the water to the pumps.
If you read historical works, you can find very interesting stories about this system. During the Anglo-Dutch War, the British were greatly surprised that the captured Dutch ships had virtually no critical wood decay. This said that the  system drainage very good at its task.
Over time, the English have slightly modified the location of the limber canal. They began to make it close to the keel. This was justified, since the keel had the lowest point in the hold. Try to search in the works of Seppings, he describes this innovation. It's all a little lyrical digression.
During the construction of the seventy cannon ships, they had not yet guessed.
And again: you are not doing the right  a Recess. The channel must go perpendicular to the outer edge of the frame. Take a closer look, it's clearly visible on your own drawing. At you the propyl is made not absolutely truly. I tried to show this in your photo.
 

When I studied this element, I came to the conclusion that it is more convenient to do it a little later, when all the frames will be in place. Then, with the help of a thread, it will be possible to accurately mark the whole gagging immediately. And just saw through all the timbers at once. If done separately as you do now, you will not get a smooth line in the collection.

Hello, Gaetan.
If memory does not fail, it seems in the first volume Budrio describes limber holl. There should also be a scheme with axonometry.

 
It shows how far these cuts should go. In the drawings in the top view it is difficult to disassemble, especially in the areas of the stems, where the desired line merges with the keel due to the bends of the frames and it is not clear how the limber holes should go. 

 
 
This is a very interesting system.

Especially when compared as a function of drainage was performed in different countries. 
The Dutch were very original. Here it is visible. 

They did not do the cuts, but made additional beams, which allowed the cladding to be fastened so that a slit was deposited to drain the water to the pumps.
If you read historical works, you can find very interesting stories about this system. During the Anglo-Dutch War, the British were greatly surprised that the captured Dutch ships had virtually no critical wood decay. This said that the  system drainage very good at its task.
Over time, the English have slightly modified the location of the limber canal. They began to make it close to the keel. This was justified, since the keel had the lowest point in the hold. Try to search in the works of Seppings, he describes this innovation. It's all a little lyrical digression.
During the construction of the seventy cannon ships, they had not yet guessed.
And again: you are not doing the right  a Recess. The channel must go perpendicular to the outer edge of the frame. Take a closer look, it's clearly visible on your own drawing. At you the propyl is made not absolutely truly. I tried to show this in your photo.
 

When I studied this element, I came to the conclusion that it is more convenient to do it a little later, when all the frames will be in place. Then, with the help of a thread, it will be possible to accurately mark the whole gagging immediately. And just saw through all the timbers at once. If done separately as you do now, you will not get a smooth line in the collection.

Hello, Gaetan.
If memory does not fail, it seems in the first volume Budrio describes limber holl. There should also be a scheme with axonometry.

 
It shows how far these cuts should go. In the drawings in the top view it is difficult to disassemble, especially in the areas of the stems, where the desired line merges with the keel due to the bends of the frames and it is not clear how the limber holes should go. 

 
 
This is a very interesting system.

Especially when compared as a function of drainage was performed in different countries. 
The Dutch were very original. Here it is visible. 

They did not do the cuts, but made additional beams, which allowed the cladding to be fastened so that a slit was deposited to drain the water to the pumps.
If you read historical works, you can find very interesting stories about this system. During the Anglo-Dutch War, the British were greatly surprised that the captured Dutch ships had virtually no critical wood decay. This said that the  system drainage very good at its task.
Over time, the English have slightly modified the location of the limber canal. They began to make it close to the keel. This was justified, since the keel had the lowest point in the hold. Try to search in the works of Seppings, he describes this innovation. It's all a little lyrical digression.
During the construction of the seventy cannon ships, they had not yet guessed.
And again: you are not doing the right  a Recess. The channel must go perpendicular to the outer edge of the frame. Take a closer look, it's clearly visible on your own drawing. At you the propyl is made not absolutely truly. I tried to show this in your photo.
 

When I studied this element, I came to the conclusion that it is more convenient to do it a little later, when all the frames will be in place. Then, with the help of a thread, it will be possible to accurately mark the whole gagging immediately. And just saw through all the timbers at once. If done separately as you do now, you will not get a smooth line in the collection.

Hello, John.
I already wrote about what kind of wood I make my sculptures from. If I write from the beginning, it will take a long time. I hope you will not be offended if I answer your question with a link to my last post.

Hello, Gaetan.
If memory does not fail, it seems in the first volume Budrio describes limber holl. There should also be a scheme with axonometry.

 
It shows how far these cuts should go. In the drawings in the top view it is difficult to disassemble, especially in the areas of the stems, where the desired line merges with the keel due to the bends of the frames and it is not clear how the limber holes should go. 

 
 
This is a very interesting system.

Especially when compared as a function of drainage was performed in different countries. 
The Dutch were very original. Here it is visible. 

They did not do the cuts, but made additional beams, which allowed the cladding to be fastened so that a slit was deposited to drain the water to the pumps.
If you read historical works, you can find very interesting stories about this system. During the Anglo-Dutch War, the British were greatly surprised that the captured Dutch ships had virtually no critical wood decay. This said that the  system drainage very good at its task.
Over time, the English have slightly modified the location of the limber canal. They began to make it close to the keel. This was justified, since the keel had the lowest point in the hold. Try to search in the works of Seppings, he describes this innovation. It's all a little lyrical digression.
During the construction of the seventy cannon ships, they had not yet guessed.
And again: you are not doing the right  a Recess. The channel must go perpendicular to the outer edge of the frame. Take a closer look, it's clearly visible on your own drawing. At you the propyl is made not absolutely truly. I tried to show this in your photo.
 

When I studied this element, I came to the conclusion that it is more convenient to do it a little later, when all the frames will be in place. Then, with the help of a thread, it will be possible to accurately mark the whole gagging immediately. And just saw through all the timbers at once. If done separately as you do now, you will not get a smooth line in the collection.

I suppose that the rising limber channel would go only as high as water might be expected to accumulate in the bilge. I agree that Figure 47 (right) makes it seem awfully high. If water rose that far, would it perhaps be time to abandon ship?

I show the next work. Sculpture for the French ship "Le Commerce de Marseille"

 

 

 

 

 

 

Hello, Dziadeczek.
In the process of work there is nothing special. In this topic, I have already shown how the sculpture gradually changed in the process of carving. Gradually, an ordinary bar appears. Here you can see the main points of my work. First, in a wooden bar I make a groove, for which a sculpture is needed to be mounted on the stem. Then I do a rough cleaning of the workpiece. I used to do this with a circular saw, making it cut. Now I'm using a band saw. It's faster and more convenient. After the machines comes time for chisels. First a large set, and then a small chisel and knife. I already laid out the photo with the workflow, please see the previous pages of this topic.
Now I do not take pictures during work. I do not see the point. I'm doing everything the same as before, I did not come up with anything new. I do not know how to describe the process of carving. I make small details with the help of small chisels. There are photos of my instrument. There are a lot of video clips in YouTube, where you can see the work with cutters and knives. I'm not fit to be a teacher.

Hi Gaetan,
 
Viewing the pieces on 1/24 is very enlightening. And I especially like when the photos are taken at the time of making.
Perfect !!
 
Greetings.
 
Mauricio

I will continue to write further. Now I'll show you the photos that show that I'm not doing anything special. I just cut the unnecessary parts of the wood.
 


 


Only now the incomprehensible form begins to become clear. And the strange figure of the seal begins to turn into a man
 







At this stage, I have nothing to tell. The secret is simple: you sit at the table, take knives, turn on a movie or your favorite music. A few hours later you suddenly find yourself sitting in the very center of the mountain with wooden shavings and sawdust. And at this moment you feel that for some strange reason you are very tired and the only thing you can do is take a broom and a brush and remove the mountain of garbage. That's the whole secret. 
 

I will continue to write further. Now I'll show you the photos that show that I'm not doing anything special. I just cut the unnecessary parts of the wood.
 


 


Only now the incomprehensible form begins to become clear. And the strange figure of the seal begins to turn into a man
 







At this stage, I have nothing to tell. The secret is simple: you sit at the table, take knives, turn on a movie or your favorite music. A few hours later you suddenly find yourself sitting in the very center of the mountain with wooden shavings and sawdust. And at this moment you feel that for some strange reason you are very tired and the only thing you can do is take a broom and a brush and remove the mountain of garbage. That's the whole secret. 
 

...a little more process...
 

 

 

 

 

 
Unfortunately the rest of the work photographed. Not enough time.
 
 

I'm very glad that humor can be translated using Google translator and it's understandable in different countries. 

I will continue to write further. Now I'll show you the photos that show that I'm not doing anything special. I just cut the unnecessary parts of the wood.
 


 


Only now the incomprehensible form begins to become clear. And the strange figure of the seal begins to turn into a man
 







At this stage, I have nothing to tell. The secret is simple: you sit at the table, take knives, turn on a movie or your favorite music. A few hours later you suddenly find yourself sitting in the very center of the mountain with wooden shavings and sawdust. And at this moment you feel that for some strange reason you are very tired and the only thing you can do is take a broom and a brush and remove the mountain of garbage. That's the whole secret. 
 

I will continue to write further. Now I'll show you the photos that show that I'm not doing anything special. I just cut the unnecessary parts of the wood.
 


 


Only now the incomprehensible form begins to become clear. And the strange figure of the seal begins to turn into a man
 







At this stage, I have nothing to tell. The secret is simple: you sit at the table, take knives, turn on a movie or your favorite music. A few hours later you suddenly find yourself sitting in the very center of the mountain with wooden shavings and sawdust. And at this moment you feel that for some strange reason you are very tired and the only thing you can do is take a broom and a brush and remove the mountain of garbage. That's the whole secret. 
 

Now it's time to go on to the technical description of the work itself.
The first thing with which any of us starts to do a new thing is transferring the scheme to the workpiece. Here I have no new inventions. It's simple: I printed a drawing or a scheme printed on the right scale, I paste it on the workpiece. Although with this angel I had to think a little. The volumetric sculpture differs from many details of the ship. Often, one type is enough to make a ship element. Even in the carving, I often have only one circuit, for example, projections from the side. But with the angel it was not enough. I needed to combine 2 types: profile and type of face (front). I do not remember now why I did not draw a front with a pencil and decided to go a longer way. There was a time when I was interested to understand different 3D programs and build human figures in them. Around that time, I studied Zet Brash, but this does not apply to this topic. Maybe for this reason, instead of a pencil, I created a front view using the Poser program. Maybe for someone it will be an interesting solution. In this program, you can simulate any movement of a person. You can do both a man and a woman. Consider from any angle how complex and incomprehensible moments look like and much more on the table you can see what I did and the view from above). So I have 2 types on the workpiece: a front view and a side view.
 

 

 
The same stage shows the first stage of processing the workpiece. I did this with a circular saw. Sense, I think and so clear. Now I look at these photos and I myself try to remember what I wanted to do at that moment. I noticed that there was a patch untouched on the workpiece above the head. 
I think that I did it on purpose. Most likely I left it, so as not to spoil the view from above. I think there was glued there another kind. Means then it was then more convenient. It is interesting to consider old photographs.
P.S. I'll pause for this while I go to sleep. I'll continue tomorrow.

This thread is shaping to be very exciting and educational! I am placing myself deeper in my computer armchair and anxiously awaiting the continuation of Alexander's blog.

Now it's time to go on to the technical description of the work itself.
The first thing with which any of us starts to do a new thing is transferring the scheme to the workpiece. Here I have no new inventions. It's simple: I printed a drawing or a scheme printed on the right scale, I paste it on the workpiece. Although with this angel I had to think a little. The volumetric sculpture differs from many details of the ship. Often, one type is enough to make a ship element. Even in the carving, I often have only one circuit, for example, projections from the side. But with the angel it was not enough. I needed to combine 2 types: profile and type of face (front). I do not remember now why I did not draw a front with a pencil and decided to go a longer way. There was a time when I was interested to understand different 3D programs and build human figures in them. Around that time, I studied Zet Brash, but this does not apply to this topic. Maybe for this reason, instead of a pencil, I created a front view using the Poser program. Maybe for someone it will be an interesting solution. In this program, you can simulate any movement of a person. You can do both a man and a woman. Consider from any angle how complex and incomprehensible moments look like and much more on the table you can see what I did and the view from above). So I have 2 types on the workpiece: a front view and a side view.
 

 

 
The same stage shows the first stage of processing the workpiece. I did this with a circular saw. Sense, I think and so clear. Now I look at these photos and I myself try to remember what I wanted to do at that moment. I noticed that there was a patch untouched on the workpiece above the head. 
I think that I did it on purpose. Most likely I left it, so as not to spoil the view from above. I think there was glued there another kind. Means then it was then more convenient. It is interesting to consider old photographs.
P.S. I'll pause for this while I go to sleep. I'll continue tomorrow.

Now it's time to go on to the technical description of the work itself.
The first thing with which any of us starts to do a new thing is transferring the scheme to the workpiece. Here I have no new inventions. It's simple: I printed a drawing or a scheme printed on the right scale, I paste it on the workpiece. Although with this angel I had to think a little. The volumetric sculpture differs from many details of the ship. Often, one type is enough to make a ship element. Even in the carving, I often have only one circuit, for example, projections from the side. But with the angel it was not enough. I needed to combine 2 types: profile and type of face (front). I do not remember now why I did not draw a front with a pencil and decided to go a longer way. There was a time when I was interested to understand different 3D programs and build human figures in them. Around that time, I studied Zet Brash, but this does not apply to this topic. Maybe for this reason, instead of a pencil, I created a front view using the Poser program. Maybe for someone it will be an interesting solution. In this program, you can simulate any movement of a person. You can do both a man and a woman. Consider from any angle how complex and incomprehensible moments look like and much more on the table you can see what I did and the view from above). So I have 2 types on the workpiece: a front view and a side view.
 

 

 
The same stage shows the first stage of processing the workpiece. I did this with a circular saw. Sense, I think and so clear. Now I look at these photos and I myself try to remember what I wanted to do at that moment. I noticed that there was a patch untouched on the workpiece above the head. 
I think that I did it on purpose. Most likely I left it, so as not to spoil the view from above. I think there was glued there another kind. Means then it was then more convenient. It is interesting to consider old photographs.
P.S. I'll pause for this while I go to sleep. I'll continue tomorrow.

So, this story will go about this sculpture.

I'll start with a little prehistory.
 Once upon a time I saved a few photos from one marine forum, where this sculpture was made by an Italian master. I did not remember the name of that magnificent master, I have only photos of his work. She impressed me very much. At that time, I never tried to carve. And I liked this figure so much that I wanted to try to cut it out one day. So one day I decided to start work. She was just for me. This is not an order for someone. I started doing it for myself. In St. Petersburg was supposed to pass the University Cup competition and I decided to go there and try to participate in C3 with my carving. In that year, Ivan Trtan was supposed to come to the Cup, and I really wanted to see his carving with my own eyes, to talk with him personally. This happens only once in a lifetime. It was because of him that I wanted to become a member of the Cup, so that he looked at my work, gave me advice. By this point, I had 2 sculptures ready, and I decided that I could make another figure. And this 3 figure was this very figure from the ship Le Ambitieux.
Unfortunately, I do not know exactly who it is. I know that there was a lion in the book, and I do not know for what reason the Italian maestro decided to change it. Then there was no Google translation and I did not understand what was written in the forum where I first saw the photos. I still do not know who it really is: an angel or maybe it's some kind of character of ancient myths, like Perseus. He was not like Perseus, and I began to call him an angel. Although maybe I'm wrong. If someone suddenly knows who is actually writing, I will be very interested in learning the history of this sculpture.

Now it's time to go on to the technical description of the work itself.
The first thing with which any of us starts to do a new thing is transferring the scheme to the workpiece. Here I have no new inventions. It's simple: I printed a drawing or a scheme printed on the right scale, I paste it on the workpiece. Although with this angel I had to think a little. The volumetric sculpture differs from many details of the ship. Often, one type is enough to make a ship element. Even in the carving, I often have only one circuit, for example, projections from the side. But with the angel it was not enough. I needed to combine 2 types: profile and type of face (front). I do not remember now why I did not draw a front with a pencil and decided to go a longer way. There was a time when I was interested to understand different 3D programs and build human figures in them. Around that time, I studied Zet Brash, but this does not apply to this topic. Maybe for this reason, instead of a pencil, I created a front view using the Poser program. Maybe for someone it will be an interesting solution. In this program, you can simulate any movement of a person. You can do both a man and a woman. Consider from any angle how complex and incomprehensible moments look like and much more on the table you can see what I did and the view from above). So I have 2 types on the workpiece: a front view and a side view.
 

 

 
The same stage shows the first stage of processing the workpiece. I did this with a circular saw. Sense, I think and so clear. Now I look at these photos and I myself try to remember what I wanted to do at that moment. I noticed that there was a patch untouched on the workpiece above the head. 
I think that I did it on purpose. Most likely I left it, so as not to spoil the view from above. I think there was glued there another kind. Means then it was then more convenient. It is interesting to consider old photographs.
P.S. I'll pause for this while I go to sleep. I'll continue tomorrow.

So, this story will go about this sculpture.

I'll start with a little prehistory.
 Once upon a time I saved a few photos from one marine forum, where this sculpture was made by an Italian master. I did not remember the name of that magnificent master, I have only photos of his work. She impressed me very much. At that time, I never tried to carve. And I liked this figure so much that I wanted to try to cut it out one day. So one day I decided to start work. She was just for me. This is not an order for someone. I started doing it for myself. In St. Petersburg was supposed to pass the University Cup competition and I decided to go there and try to participate in C3 with my carving. In that year, Ivan Trtan was supposed to come to the Cup, and I really wanted to see his carving with my own eyes, to talk with him personally. This happens only once in a lifetime. It was because of him that I wanted to become a member of the Cup, so that he looked at my work, gave me advice. By this point, I had 2 sculptures ready, and I decided that I could make another figure. And this 3 figure was this very figure from the ship Le Ambitieux.
Unfortunately, I do not know exactly who it is. I know that there was a lion in the book, and I do not know for what reason the Italian maestro decided to change it. Then there was no Google translation and I did not understand what was written in the forum where I first saw the photos. I still do not know who it really is: an angel or maybe it's some kind of character of ancient myths, like Perseus. He was not like Perseus, and I began to call him an angel. Although maybe I'm wrong. If someone suddenly knows who is actually writing, I will be very interested in learning the history of this sculpture.

I have time and will try to respond to requests to explain my work. I was very lucky to have this set of photos preserved when I was making one of my sculptures. Now I can show how the carving has worked and explain some points.
A large amount of text will take some time and I will also show a lot of photos, so I will not upload all at once, but gradually. Just want to apologize for the fact that much will be difficult to understand, I still do not know how to write correctly. And so help me a great Google (I would have been quite sad without it). If this is suddenly read by the creators of Google translator, then I want to send you my regards and many thanks for your work.
This will be an introduction. Soon I will try to show 1 part.