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Tartana ligure by Javier Baron - FINISHED - scale 1:200


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I have started the construction of a new model to add to my collection, which will be number 67.

It is a tartana from Liguria in a scale of 1: 200. I use as a main source of documentation the monograph of the tartana Gemma, by Franco Fissore, published in Ancre, although I will also use other sources, such as the book "Vele italiane de la costa occidentale" by Sergio Bellabarba and Eduardo Guerrieri, and old photographs of complementary form.

For the construction of the hull I use Finnish plywood of 0.6 mm. to make the frames.

 

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Thanks for your comment. 

 I closed the hull. As the model is going to be painted, I have not taken too much care of the placement of the strakes, which I would have done if the hull were in exposed wood or in clinker-built instead of a carvel-built.

Then I have sanded and polished the hull before proceeding, as next step, to tear out the false frames. To harden the hull before its sanding I have cover it, as if it were a topcoat varnish, with a layer of liquid cyanoacrylate.

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You're right, Dave; my technique can be applied to the auxiliary boats of the big ships instead of the traditional technique of doing it with a solid mold.
The traditional system has as an important advantage in the possibility of using the mold many times and making an equal series of boats, which is important for steam boats of modern times, but has the disadvantage that it is very difficult to make boats of lines very sharp or that are of concave section with greater width in the waterline than in the line of the deck.

 

Javier

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Thanks for your comments. Part of the interior of the ship can be seen, since I will leave the cargo hatches open and the door of the cabin half-open. In addition, one of the reasons why I build part of the interior carpentry is to give the hull greater rigidity. In the system that I use, the most delicate moment is just when the false bulkheads are pulled, since the hull only has 0.6 mm walls in its raw state, that is, before sanding.

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Thanks for your comments. Part of the interior of the ship can be seen, since I will leave the cargo hatches open and the door of the cabin half-open. In addition, one of the reasons why I build part of the interior carpentry is to give the hull greater rigidity. In the system that I use, the most delicate moment is just when the false bulkheads are pulled, since the hull only has 0.6 mm walls in its raw state, that is, before sanding.

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Michael, I have used for the first time in this model bolts made in photo etch coming from a series of complements for the HMS Victory in scale 1: 100 made by Daniel Fischer, that I acquired in the International Convention of Model Shipbuilding that was made in Rochefort last October. The sheet that interested me was Number 7 of the set, with ringbolts and hooks in different sizes.

 

Daniel Fischer is a member of this forum and participates in it with the name of dafi, and has a built log called “HMS Victory by dafi - Heller - PLASTIC - To Victory and beyond ...”

 

The truth is that I had not noticed that detail of the eyebolts until you have indicated it, since it is not visible to the naked eye and only discovered if you look with a magnifying glass (and I do not usually use the magnifying glass when I make my models to avoid getting depressed ...)

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First they looked like made from those binders for plastic bags, these plastic strips with a wire imbedded ... however, it is now clear that the ridge is an etching artefact: the attack of the etching agent does not only happen perpendicular to the metal sheet, but also sideways to some extent. It is particularly pronounced, when etching in a tray and can be reduced by the commercial spray- or foam-etching processes. I have actually tried to play with this effect to achieve certain 3D-effects.

 

Javier, not using magnifiers may be a wise decision  😏 - when taking photographs, I recognise very well this sobering effect ...

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