Soleil Royal by Hubac's Historian - Heller - An Extensive Modification and Partial Scratch-Build

[Bill Morrison]

Marc,

 

Yours is beyond doubt the most impressive model of this ship I have ever seen!  I am a skilled modeler, but I tip my hat to you. Well done!

 

Bill

[Hubac's Historian]

Thank you all very much, Gentleman!  And, Bill, I appreciate the thought, there.  Some day, Nek0’s Soleil Royal will far eclipse anything that’s happening here, and I personally can’t wait for that to happen!  In my opinion, his model is the king of all current Soleil Royal builds, and there are a number of very good ones out there.

[Bill Morrison]

Marc,

There are indeed quite a few exceptional models of SR that have been and are being built.  One of my favorites was by a builder named David_K over on FSM from several years ago.  I am waiting to see both yours and Nek0s models.  By the way, I ordered that book about French Warships in the Age of Sail that you recommended.

 

Bill

[Ian_Grant]

12 hours ago, Bill Morrison said:

<snip>  By the way, I ordered that book about French Warships in the Age of Sail that you recommended.

 

Bill

So did I. Looking forward to reading it; hoping it will help me decide how to configure my SR's stern and 1/4 balconies (when I get to it).

I opted for the cheapest delivery from Chicago and the quoted receiving date is mid June (!!?). I could walk to Chicago and back with it in that time. There's something about USPS and Canada, it's fabulously expensive and/or slo-o-o-ow.

Edited April 5, 2022 by Ian_Grant
chanhe "hot" to "how"

[Nek0]

On 4/4/2022 at 3:55 PM, Hubac&#x27;s Historian said:

These window banks are incredibly labor-intensive, but the process of making them has been very enjoyable for me.  What I am doing, here, essentially mirrors what Tanneron did for the sterns of his models.  The damaged stern of L’Agreable illustrates how his windows are all pierced into one plate, as seen with the lower bank of windows:

 

 

Considering the density of detail in such a small space, this method seems far easier than framing each individual window.  Getting all of the elements (window frames and pilasters to flow harmoniously would, otherwise be quite difficult.

 

As I have done previously, I add window backstops to the bulkheads as added insurance that the windows can’t drop out of their frames, if the CA bonds should ever fail:

 

 

I remain indebted to Druxey for showing me how to make really good acetate windows by simply scribing the mullions into the acetate, and then filling those engravings with medium grey acrylic paint:

 

 

It really is simple and it just looks so much better than anything else, at scale.

 

Of course, I will next plank-in beneath the windows, but I am pleased with how the stern is rising:

 

 

One detail that isn’t so apparent now, but will become so after planking, is the chamfer I filed into the door sides; this chamfer will create a shadow relief that will more clearly delineate the door opening.  For the door handles, I recycled a pair of my frieze scrolls, which had the right shape and were sized closely enough.

 

The round-up really helps to minimize the warped geometry of my stern:

 

 

At this stage, it is becoming more apparent how the increase in hull-width has established a more ship-like impression of a stable gun platform:

 

 

This is quite a difference from the stock kit.

 

So, I will plank and paint beneath the windows, install the balcony bulwark, and create the cap-rail for the balcony bulwarks. I will then take a break from the stern so that I can focus on finishing certain details.

 

I need to paint and install the starboard spirketting on the main deck.  The f’ocsle beam needs re-touching, where I installed the moulding.  The starboard bulwark joint needs to be puttied and painted.  I need to fit, paint and install the quarter deck beam.  Then, I need to retouch the exterior joint for the starboard aft bulwark.  Finally, I need to install the starboard channels and fit all of the buttressing knees.

 

When all of that is ship-shape, I will return to the stern.  One fun thing to make are the pass-through archways that support the figures of Africa and the Americas:

 

 

On the back-burner of my mind, I’ve been thinking about how best to make up this piece so that I can represent the delicate acanthus carvings.  I think I know what to do now.  The most important thing is getting the scale and shape of the opening right.

 

Following that, I’ll tackle the third level of stern lights.

 

Thank you for your interest, your likes and comments, and for looking in!

 

Your interpretation is brilliant... !

 

[Hubac's Historian]

‘Very much appreciated, Marc!

[Bernard Huc]

Hello,

I discover this beautiful subject.

I would like to show you my interpretation of the figurehead of the SR based on the drawings of Bérain and printed in resin at various scales:

 

The link to the topic on Gérard Delacroix's forum:

 

https://5500.forumactif.org/t4141p75-la-figure-de-proue-du-soleil-royal

Edited April 11, 2022 by Bernard Huc
Traduction

[druxey]

En anglais, SVP, Bernard! Merci.

 

Translation; "I have discovered this magnificent subject. Let me show you my interpretation of Soleil Royal's figure based on Berain's drawings made in resin at various scales."

[Hubac's Historian]

Congratulations on your fine presentation Msr. Huc.  Thank you for sharing!

[Bill Morrison]

On 4/8/2022 at 7:56 PM, Nek0 said:

 

Your interpretation is brilliant... !

 

I fully agree!  

[Hubac's Historian]

Thank you, Bill!

[yancovitch]

gads, i wish i had seen that idea about the windows before i had to suffer the job of soldering thin wires together on my present little project.....what a super idea.....and about that figure head....wow...i can only dream....even with the present technology.....what a treat following these two soleil royal projects.....

[Bill Morrison]

Marc,

I have started re-reading your approach and explanations from page 1.  Granted, much of what you have done is beyond my skill level, but it is a great refresher course. If I were to emulate that which you have done, I will have to do so as a full-hull model.  Who knows?  I did buy another Heller model of Le Soliel Royal to attempt your modifications, but I have to receive the book first.

Bill

[Hubac's Historian]

I appreciate that you are taking the time to read through the log, again, Bill.  The one thing that will not be possible to do as a full-hull model will be to increase the width of the hull, at the bow.  That can only be done, if you cut away the lower hull.  Everything else, though, is eminently possible.

 

And Vic, you're right - that scribing technique is a quick and easy way to go about making windows.

Edited April 11, 2022 by Hubac's Historian

[Hubac's Historian]

Yesterday was a milestone day as I completed the main deck gallery of stern windows and finally completed the wrapping balcony.

 

Per usual, there was quite a lot of touch-up, but here is where we are after applying the walnut ink wash:

Somewhat remarkably, I managed to avoid breaking the aft bulwark supporting knees, the angle of which had to be faired a little to match the corresponding rake of the corner joint.

 

Because the nature of this reverse-engineering project precludes a comprehensive drawing, from the outset, the build is always evolving, in-process.  I realized, for example, that increasing the camber on this main-deck tier of windows ultimately necessitated adjusting the camber of the bulwark railing, if those two things were ever to agree with each other.  Even though I thought I had set the camber of the windows to match that of the bulwark, it didn’t quite pan out that way, in actuality.  Unfortunately, this only became manifestly evident to me AFTER I glued the bulwark in place.  For the sake of comparison, here is the relatively flatter camber of the bulwark, prior to alteration:

 

Fortunately, there was enough solid-bond glue surface to enable me to re-shape the bulwark, in place.

 

The bulwark cap-rail, itself, was determined by making graphite rubbings along the top edge with masking tape.  This gave me the precise shape, as well as the location and depth of all of the pilasters, so that I could arrive at a reasonable overhang, without making the railing appear too heavy.

 

The forward end of the side cap-rails required some allusion to timbering, considering the need to cover the relatively large-scale expanse of the wooden end-piece beneath it.

My big idea was to wrap the side railings over the corner join to the aft bulwark, thus re-enforcing the construction.

A few different perspective shots with all of the paint re-touched:

 

So, now the stage is set to make the pass-through archways that also serve as supports for the figures of Africa and the Americas.  My adaptation of the Berain design is as close as I can keep it, while still respecting the particular slope of tumblehome on this model.  Here, I’ve drawn my proposal directly to a cardboard pattern:

 

These will be fun to make, as I’ve made all other things like this, before; there will be a primary sandwich of three layers of styrene, with two thinner appliqués that make up the acanthus brackets, and applied mouldings that continue the lines of the upper stern balcony.  There will be pierced fretwork and applied ornaments and all kinds of fun that add up to about a week of effort to make each bracket.

 

I’ve extracted two of the Four Winds carvings from the stock QGs, that will be fitted to the outboard surfaces of these brackets.  I didn’t bother to draw them on the template, but here they are beside said template:

 

They will be reduced, accordingly, to fit between the upper and lower scrolled volutes.

 

As always, thank you for looking in, and for your kind comments and support of the project.

 

More to follow…

 

Edited April 20, 2022 by Hubac's Historian

[druxey]

The views down on the wrap-around balcony are very informative. Thank you for this latest installment, HH.

[Hubac's Historian]

As always, Druxey, you are very welcome.  I appreciate your sticking around through this slow, steady climb.

 

It has been suggested to me, by a friend on the other forum, that my pass-through arches might benefit from a slight re-design.  His point was that the pedestal support, as it rises from the balcony rail, appears to move slightly away from the ship side:

 

I related that part of the reason for this is that I needed a wide-enough seat to accommodate the figures of Africa and the Americas, so that they wouldn’t seem cramped beneath the quarter-piece supports for the side lanterns.

 

When I reduced the sheer by 1/4”, I lowered these quarter-pieces, as well, so that they would be in-line with the sheer railing, as opposed to above the sheer railing.  I even carved away the lower finishing of the quarter pieces and reduced their depth, somewhat, but they still present a challenge to spacing.

 

Nonetheless, the more I studied the problem, I could appreciate that he was right, and I found a path to get ever so marginally closer to what he was suggesting.

 

Now, the differences are slight.  I kept the canopy at the same projection as before, but I redrew the support pillar at a slightly steeper angle toward the ship’s side, while increasing its heft.  I re-drew all of the scrolls and the acanthus brackets and they are better now.

 

Here is the difference:

 

I will minor-tweak some of these panel reveals, as I make the parts, but this is what the new bracket design looks like against the ship:

This is not a dramatic difference, but it is a worthwhile improvement, IMO.

 

[GrandpaPhil]

Amazing work!

[druxey]

Might the downward arm of the bracket be angled even a little more to echo the converging lines of the row of lights or is it just the angle of the photo that makes it appear to slope less? Looking great!

[Hubac's Historian]

Thank you GP-Phil!

 

Partly, you are correct - it could angle slightly more inboard, but then it begins to affect my scroll spur (which supports the foot of Africa) in a way that I don’t like.  Partly, though, it is the angle of the photo.  This all looks a little better, in person.

Edited April 25, 2022 by Hubac's Historian

[Nek0]

Hello Marc,

I love the way things are turning, and your work is very impressive considering how small the model is. (1/100)

However, there is just one thing that bugs me a little. The color scheme is your choice and there is no way I want to discuss it but I find they are maybe a little too bright, or, I mean, saturated... You used the "real" 1/1 colors to paint your model, but when you look at an object from a distance, the colors are faded, due to the density of the air. So, when you look at a model, the colors should be faded. Usually it doesn't make a big difference because thre are only a few colors, and the models are often 1/48. But with so many colors and a small scale, there may be an interest to desaturate a little.

It's hard to tell because certainly the colors of the pictures on our screens are not what you see with your own eyes. 

[Hubac's Historian]

Hello, Marc!  Thank you for the kind words!

 

Part of your perception is the photography.  I photograph with minimal background light and a bright overhead.  This helps pick up the detail.  In life, the model is certainly bright, but not nearly so as it seems in the pictures.  With each new level of the stern, I am modulating the weather wash (walnut ink), which I will continue to play around with right up until I clear-coat the entire model with a matte finish sealer.  This will also help to mute the colors a little.

 

I don’t do much, in the way of set-up for taking pictures.  I just try to get a crisp enough image for the log.

[Nek0]

Got it, I was sure it had something to do with the photographs. The matte sealer is a very good idea indeed. 

 

[yancovitch]

when the time comes, i would experiment with different matte sealers if you can.....some leave a white milky residue, from what i remember......

[Hubac's Historian]

The more I consider your specific point about color saturation, Marc, the more I can appreciate the truth of atmospheric conditions and the way that they impact our perception of color, in real life.  Once again, when it comes to diorama ships, Herbert Tomesan comes the closest I’ve seen to getting this right.  Your point is well-received and I will do my best to tone it down a bit more.  And, yes Vic - one does need to be careful with clearcoats.

 

So, the process of making this first starboard bracket has been highly educational!  Anytime I’m making a part like this, I am designing a process to arrive at a level of detail with the least amount of difficulty.  For these brackets, one of the primary details that I wished to capture is the pierced filigree of the false canopy.  This, much like the trailboard at the head, can only be arrived at through careful piercing and paring, from one side to the other and back again.

 

As always, though, I like cleanly delineated shoulders and panel reliefs, so I thought it would make the most sense to build the bracket up from three primary layers of .028 styrene sheet which, I will show later, gives me just nearly enough part thickness to mount the Four Winds mascaroon.  Carving  the filigree into a larger supporting lamination is far easier than carving it as an independent insert piece.

Above, I’ve already carved the filigree and laminated the aft layer to the center.  The edge that joins with the hull is also about a 1/32” oversize, to allow for precise scribing to the hull, a little later.

 

The bottom of the scroll, where it mounts to the bulwark rail, has been left deliberately overlong for final shaping, once the three layers have been laminated together.  I was mindful, at this stage, that the back-raking angle of the bracket would necessitate a raking angle for the scrolled foot, as well; were I to shape each lamination to size, before gluing, I would end up with a significant gap, at the forward face of the foot.

 

After lamination and initial scribing to the hull and gallery rail, the foot looks like this:

With the bottom angle of the foot established, I could proceed with shaping the scroll and fairing the leg to it’s final form.  Here is a montage that shows the evolution of this process:

 

One thing I have found to be true; it is much easier, at times, to “draw” with the tools, than it is with a pencil.  I was able, for example, to emphasize an elegant sloping transition into the foot with my files and a sanding stick.  Now, when I position the bracket on the model, the negative space of this archway is at a more complementary angle to the adjoining windows than my initial drawing/template.

It’s a little hard to read in the following picture, but I have introduced a slight taper to the scroll foot from bottom to top; this is the first step along the detailing path of a scrolled volute.  I will show the relief work, in this area,  in the next post, after I have attached the acanthus brackets.

So, with this much established, I could focus on fitting the mascaroon that I had retrieved from the kit quarter gallery.  Given the difficulty of carving convincing faces, it is always worthwhile to see whether one can salvage the kit sculptures.  The mascaroons are oversize, but I thought I could make it work.  

What I am trying to achieve:

After much fettling, the mascaroon pares down quite a bit from where it began:

Now - the head is unavoidably wider than the bracket, but I will show a little later how simply softening these hard edges makes the sculpture look more like a deliberately rounded relief.  I was able to retain just enough of the headdress, so I consider this sculpture experiment a success!

Next, I turned my attention to the mouldings which are really just a continuation of the top and bottom rails of the upper gallery bulwark.  My idea was to simply profile a piece of scrap 1/16” styrene and then “rip” the moulding off the blank:

 

After truing the back edge, it was a simple task to profile the ends and secure them to the bracket:

 

This approach results in a generous perch for the seated figures:

 

I am currently adding-on the final layer of appliqués:  paneled headers, bell flower escutcheons, filigree accents,

and acanthus brackets.

 

Here you can see how softening hard edges helps turn a shortcoming into an advantage:

 

Honestly, I don’t think I can do a better job of satisfying the design and artistic challenges of this complicated part.  Nevertheless, it did dawn on me that my approach resulted in a fundamental architectural flaw that would never have found its way onto the actual ship.  Can anyone spot it?

 

I’ll give you all a little time to mull it over, and then I’ll explain why it won’t matter for this model, and is not worth the monumental effort of remaking the part.  I got lucky, this time, but the insight has only deepened my appreciation for these 17th C. shipwrights who managed to knit the whole structure together seamlessly.

 

As always, thank you for your support!  More to follow..

Edited April 29, 2022 by Hubac's Historian

[Bill Morrison]

Marc,

The angle of the cap to the piece you made doesn't look right as it violates the ship's lines aft. It is the only piece with a down-slant aft looking at the broadside view. The forward view looking aft shows the piece tilted downwards.

Bill

 

[yancovitch]

two things i'd like to see..............

a video of you carving one of those tiny intricate scrollwork with your hand tools 🙂....and the brushes or implements you use to paint the detail on the ship.....(sorry to digress)

and do you use a dentist's or jewelers magnifying apparatus?...thanks..

 

 

 

[Hubac's Historian]

Right you are, Bill!

 

The reason that I will not labor to remake the bracket is illustrated right here:

The figures’ vestments will completely obscure the stool that they sit upon.  In fact, those pesky clothes will obscure most of the detail I have labored to create on the forward side of the archway bracket.  That is perfectly  okay with me, though.

 

Vic, I suppose that a real-time video of me “whittling,” as my work friend likes to quip, would be intensely boring; ever watch a termite bore through wood?

 

As a near-sighted person for most of my life, I am adjusting to the mid-life reality of constantly removing my glasses for close work, while simultaneously resisting the pressing need for bi-focals/transition lenses.  This is the status of my mid-life crisis.

 

I’ll post a picture of the three main brushes I use, a little later.  They are great, but not especially spectacular; all synthetic, and totally in-expensive.

Edited April 29, 2022 by Hubac's Historian

[yancovitch]

haha..i don't know....watching someone whittling away on tv would be just as, or more exciting than much of the tv programming  these days.....ha...me i have to use 3 different size diopter glasses..... 

[Nek0]

Very interesting way to deal with the brackets ! I will study on this.