korablik1979

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 everybody.
For a long time I could not show anything new. Unfortunately. Now in my life there are big changes and I had to change my place of residence with my family. So far, new circumstances and conditions are very unusual and very different from what I'm used to. Now I do not have the opportunity to go online regularly. Therefore, I immediately want to apologize that I can not respond quickly to comments. Do not be offended, I do not ignore your comments, and I will definitely answer as soon as a good opportunity appears.
Over the years, I was busy with another project. I really liked it, I enjoyed working with this order. But now I will not show what I got after the finish. I will show a small fragment. Maybe someone can find out or guess what kind of figure it is. The only clue from me - this ship knows everything!
Sincerely, Alexander

That's all!
I tried to talk about my tricks and technologies.
As I said before, I do not have any special and secret techniques. I do not look like a wizard, all my tricks are ordinary and many people know them. I just take the workpiece, the tool and try to get the image I need, which hides inside the workpiece. In the end, I will show a few more photos, there is no point in commenting on them, everything is clear.
 


If suddenly my story about one of my works will help the others, then I will be very happy. If I wrote something incomprehensible and the meaning ran off during the translation, or I did not tell you about a particular reception, then ask your questions. I will try to answer them. All the warmest greetings!

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. 
 

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.

Last time show a finished action figure





 
 

Came the turn of the hind paws

Now crown





cut small parts separately



and the last item




well that's all. in the end I want to open another one of my secret. Photographing process work is also very useful. Often you can see that just not visible. Pictures help to see their mistakes. When working, don't remember how it looked figurine of a week ago. And if you suddenly have to start all over again (this happens), then you can better understand where to make changes and do not make a mistake опять.У photos have another benefit. When it was all over and the thread goes to the customer on the memory remains of those pictures.
 
 

Now is the time to work on a shield with lilies . First I 'll show pictures, and then open another little secret.   So the lion looked at the beginning of work on the shield So after So in fact what happened in the end is not quite what is photographed at the beginning . The shield with lilies actually different. Note that in the first picture , this part is not as convex  as in the end. I did not succeed. I was frustrated. I cut below and try again. Again bad. So shield became quite flat and on it was impossible to fix. What to do? Redo it all over again? This is so offensively . I decided to try to fix everything. But first, another blank tree I began to cut again inside with lilies. I liked it, now you need to carefully move it to the figure.    That's why I made the first shot. And the line is not there by accident and not for beauty. With her help I was able to print this part of the correct scale on cardboard. Then tried to cut the exact shape, and what was inside the wreath. It was laborious, it was necessary to try a lot. Several times had to start anew. And finally, everything worked, I cut out cardboard replica of what I wanted.    I now had a pattern. I have attached it to a new piece with lilies and transferred all nyuansy.Ostalos all neatly cut and paste the new piece into place. So the whole figure was saved.   

Home. 
You can see that for simplicity I glued the paper with the drawing on the workpiece. The first thing to do for landing slot


 
Then I switched on the machine circular saw, so faster



 
The following picture shows that this thread I had a second. The first attempt was a little different, and the customer has not approved it.

 
PS To be continued.
sorry, have to run for job

This is still my last job. I finished it a few days ago. 
Here's a French lion   turned out.





If interested, and in that sense, I can show pictures during operation.
 

This sculpture cut and light wood. 
Here's what happened: 




 
This apple tree. 
Likely to put the dark figure of a model, but just have not decided yet. 
This turned out not so gentle in proportion as basketball, and breasts are too large 
This has not yet toned anything because it is easy to spoil everything

covered with oil:


 
after drying oil tinting:




 
Everything. And so it did:


 
Sincerely, Alexander
 
 
 
 
 
 

manufacturing slot:




 
Thread bottom feet:





 
 

I continue to publish a photo about working on an angel. This series shows how the face is gradually changing. Now this is a more subtle work, which I do with a subtle instrument. More often than not, I begin to do details with faces. Well, of course, if the conversation is about the figures of people. But I do the same with animals and start the details from their head. It's more comfortable for me. The head of any sculpture is the most important place, the most important thing. So I try to do it first.
 


I think this: if I suddenly make an irreparable mistake, I'll take another piece. But if I leave my face to the end, I'll make the whole sculpture and at the end I'll mess up  face, then I'll waste more time. So I'm doing the head fof sculpture first.
I also want to draw attention to other parts of the figure. There are places I do not pay attention to specially. Look at the look of the helmet and hair, as well as the bottom of the figure with clothes. In these places I do not work at all now. At this stage, I remove unnecessary material in these places only if it prevents me from approaching the instrument comfortably. If there is no interference, I do not pay attention to these zones. I feel so comfortable. I think so: now my task is this face person and I give all my attention to this topic. While I do not know exactly how I will do creases, so I better not touch them, so as not to accidentally remove excess material.
 

 

On these frames you can see what one small secret looks like. The sculpture has changed very much. It's not from other lighting. The fact is that these photos I made the next morning, after I covered the sculpture with oil. I covered him before going to bed, I left him to rest for the night, so that the oil would be absorbed into the tree. And these pictures were taken the next morning. See how much material has changed. The angel looks as if I have polished it for a long time. In fact, this effect gives an oil coating. It does wonders. After him, the figure not only looks different. Now the material is completely cut off. There are such places on the sculpture, where due to the arrangement of the fibers, the traces of the cut are very ugly. Such places are not smooth, but as if there was someone plowing on a tractor. Such a feeling that they worked with a tool without sharpening. After coating the oil, everything changes and is cut much better. The oil is not absorbed very deeply and if the depth of the material is removed more than 3-4 mm, then the wood that is wet from the oil will run out and the material in this place will become as it was without oil.
When I tried to make a carving with oil, I really liked this method and I used a lot of oil. For example, he immediately covered the entire figure. But over time, I realized that this method has drawbacks. And now I do not use oil the way I did it while working with this angel.
What are the cons?
1. When you hold the workpiece from your hands on the sculpture gets dirt.
 Wood with oil very quickly absorbs grease and dirt from the hands. And where there are convex places the tree becomes darker. And it's not very good. I tried to work with gloves. But I did not like it. In gloves, especially rubber, my hands sweat quickly and it's not pleasant. I tried to put on cotton gloves and again I did not like it. In them I do not feel the instrument well. It feels like I have to sew a garter and a thread in boxing gloves. I suffered from this. I thought that you need to wait, it will be a little time and I will get used to it. But one day there was a case after which I took off the gloves and did not take them anymore. I was wearing cotton gloves, I wanted to put the sculpture on the table, but with some thread the glove caught on the corner of the sculpture and it hung under the glove. And after a moment the sculpture fell off this thread and fell to the floor. I realized that if at that time my work would have come to the end, and the figure had small details, then they would have crashed from falling. So I realized that I do not like gloves at all. But back to oil.
2. Another disadvantage of oil is that it is impossible to glue anything to the treated wood. Only on cyanatrilate and such a compound will be brittle. This is bad. If during work I see that it is possible to glue a piece that has split off so that it is neat and not noticeable, then it's great. But with oil this will not work. Is that bad.
3. Oil very strongly attracts dust and small pieces of material. And in work it hinders. Especially when you need to work with small details. Garbage prevents you from seeing exactly where you need to cut it. And you have to work hard with a clean brush to sweep away such rubbish.
How to be, because oil has both pluses and ninus. Do I use it now? Yes. But not as before. If I see that I've got a place that hardly reacts to tools, then I smear butter only in this place. I do this almost dry brush and try to do it only where it is needed. I do not cover the whole figure while working. Only when the work is finished.
 

Hello everybody.
For a long time I could not show anything new. Unfortunately. Now in my life there are big changes and I had to change my place of residence with my family. So far, new circumstances and conditions are very unusual and very different from what I'm used to. Now I do not have the opportunity to go online regularly. Therefore, I immediately want to apologize that I can not respond quickly to comments. Do not be offended, I do not ignore your comments, and I will definitely answer as soon as a good opportunity appears.
Over the years, I was busy with another project. I really liked it, I enjoyed working with this order. But now I will not show what I got after the finish. I will show a small fragment. Maybe someone can find out or guess what kind of figure it is. The only clue from me - this ship knows everything!
Sincerely, Alexander

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

 

 

 

 

 

 

Good afternoon, Jay.
Thank you for high valuation my work. And thanks for your expanded, great comments. You give a lot of useful links and tips. They are useful and interesting for me. Unfortunately, I do not know this site well and many of the reviews of ships are unknown to me. Recently, I generally very rarely look through the forums. Even their own, Russian, where there are masters speaking in Russian. There are many reasons for this, I will not list them, it is a separate topic for conversation, which will lead away from the topic, flood.
So when you give me links on topics with ships, they become discoveries for me, I leaf through them for a long time, read and watch. This theme with the construction of a large 74 cannon ship, I have already saved myself in the bookmarks. Very interesting. I like it. The Russian forum has a similar theme, it talks about the construction of a giant model of the ship "Frenchman". It makes a very interesting master from Ukraine.
 



With the study of English , unfortunately, things are going badly. I can not regularly give this time. I'm sure this can be seen from the fact that my text is as wrong as it was before.
I'm very glad that you liked the instrument. It is really well suited not only for threading, but also for any carpentry work for the ship model. Especially it concerns the manufacture of admiralty models where there is a need to manufacture grooves, spikes, bevels and other engineering joints. Handles chisels is a separate topic. My first set was with pens in the form of pencils. I work them constantly, this is my main tool for several years. This year I ordered another set. I already showed it in the photo before. He has dark handles. They are similar in form to drops. For me, this form is most convenient. And the practice with these chisels has already proved this to me. With these pens I can hold the instrument as Karadash. Wherever I need it, I can hold the handle in my fist, press the palm of my hand against of my the back head tool handle.
Each master has his own characteristics and each master makes the tool so that it is convenient for work. As well as before, sabers were made, swords, so that they were individual, lay perfectly in the hand of their master.
P.S. Thanks again, and I wish you success in your work.

Minerva statue.
for the seventy-four gun ship (monograph Jean Boudriot)  
wood: pear
Scale: 1:48
Size height: 9 cm
 











 

The second approach to this lion. Now it is brought up to full readiness. Figurine notation scale without stipulating the size in centimeters. Lion is not designed for a specific model, it is a separate work. Later decorative stand should appear.

Set thread for the ship Berlin:

One of my recent work. British Lion.
Unfortunately, this work at this stage and over. To finish before the end of it will be gone. It so happened that I met with the customer and showed him how things were going with the lion. And the customer has not yet decided to take the unfinished threads. He liked the state of incompleteness. And he asked to cut another lion before the end. But there's more to come. I hope I can with the time and show a complete lion.
 
Hopefully interpreter translated understandable.
 

further:

Good afternoon, everybody. 
I finished another small order. This is the most difficult job, that I had. But very interesting. I very much enjoyed the thread. 
This figure rooster for the French frigate «Le Francois». 
That's how this figure looks in the drawings. 

And here is what I got







 

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.