HMS Sphinx 1775 by Hollowneck - FINISHED - Vanguard Models - 1:64

[hollowneck]

Sail fabrication continues. The details described and shown in this update are essentially the same for all the sails. The most difficult and time-consuming to make are the topsails (Fore, Main & Mizzen). These sails are large, have various linings (added canvas reinforcement pieces), and reef points. The remainder are smaller and with the exception of the lower spritsail and mizzen course (a fore/aft lateen) have no linings or reef points.

 

After applying silkspan pieces to the reverse side of the sail layouts, they get trimmed to their final sizes with a craft knife. The next step is applying the mast cloth, linings and tablings (leech and foot) shown here. Shown here is the Main Topsail, the largest sail that Camilla will show deployed. The tabbed edges for both leeches and the foot are bent upward to form a "trough" on three sides. These protrusions that were described in the sail layout stage become the tab linings for the simulated boltropes. Because the sail has now become considerably thicker with the silkspan layers, bending the three narrow (4mm) tabs requires a straightedge and a thin lifting tool to create properly. It is important to fold these tabs as accurately and consistently as possible along the sail's three sides. There is no tab at the sail's head as it attaches to the yard directly with roband ropes. I use the reverse edge of an X-acto knife to carefully lift the tabs against a tightly held straightedge to accomplish the upward bending. Careful finger pressure brings the tabs to an upright position so it's easy to apply glue along the fold with a toothpick.

 

I use Liquitex matte medium adhesive to affix all the sail linings as shown: mast cloth, lower lining and reef bands. A small paintbrush, some toothpicks and a dish of water are necessary for this step. The additional sail pieces are cut from scrap silkspan leftovers and are the same color.

 

Once the sail has had its linings applied, I use an awl and a small drill to make the reef points and roband holes that will get ropes mounted through them at a later stage. The rope I'll use for both is .03 mm in the normal hemp running rigging color. In the photo is the spool of wire that gets mounted to the sail's leeches and foot. The wire is 32 ga. annealed and coated wire (florist wire); it's pliable and because it's soft steel, the coating keeps it from rusting. This is important as water-based Titebond glue is used to seal the edges as will be demonstrated.

 

This photo shows the placement of the leech forming wire. The wire will be enclosed within the boltrope "tab.” This forming wire technique will be applied to three sides of the sail.

The thin wire is held captive within the sail's three edges (both leeches and the foot) by the foldover tabs previously shown; these "tabs" also simulate the edge linings of the sail which will later get boltropes affixed. The wire is cut over-length to the sail's edges and later trimmed-off. However, the extra wire at the head of the sail is kept long purposefully; this small length of protruding wire becomes a temporary suspension point that holds the sail onto the yard as it is mounted with its ropes (robands).

A small diameter dowel is a close approximation of the sail's yard thickness and helps to form the protruding suspension wire at both head leeches. The length of the wire isn't critical; just enough so that it can hang on its yard and be mounted with ropes. It can be left in-place or snipped-off after serving its purpose: I snip it off after bending the sail to its yard.

An extreme close-up of one corner intersection of a leech and the sail's foot. Note that the wire-retaining "tabs" are trimmed at sufficient angles to create a tight corner seam- without an awkward overlap. The corners have been carefully "notched" with a knife in the earlier sail cutting out step.

A sail that has all its boltrope tabs formed (leeches and foot). The sail's head suspension wire at the bottom can be seen. The three folded-over tabs have their encapsulated wires glued in-place.

 

To seal the wire along the edges of the sail a simple dowel can be used once glue has been added along the full length of the tab. It's important to "push" the wire with the dowel's tip so that it sits at the very edge of the trough created by the folded over tab. Some glue will squeeze out when this is properly done (but don't use too much glue!). Since white glue is slow drying this isn't a problem; you'll need to scrape or wipe off any excess that appears. The sail's boltropes will be attached to these three lining tabs later.

 

For gluing the tabs I use undiluted white aliphatic glue (TiteBond), applied with a toothpick along the full length of the sail. This photo is taken from an article I authored a couple years ago for the NRG Journal on my sailmaking. The colors of the sail material shown don't match the previous due to lighting differences. The yellow-hued glue can be seen in the trough containing the forming wire.

A view of the main topsail formed by carefully bending and shaping the three edges containing the encapsulated wire. Boltropes, reef points (lines) and cringles will be added. I've formed the sail here to show the effect of the involved process of "wiring" the three edges; I'll not finalize the shape of the sails until much later when they're ready to be mounted to their respective yards.

 

Another view of a "formed" sail. Both photos were taken specifically to show how the wire helps to create a "billowing" effect of the sail. The suspension loops at the sail's head are clearly seen. The protruding wires at the intersection of the leeches and foot will be trimmed off.

The temporary placement of the semi-completed Main Topsail on HMS Camilla.

Another slightly closer view of the sail. It's temporarily suspended by the two small wires at the head on either leech. Note the translucency of the sail materials. The three layers that comprise the sail still permit subtle light transmission. The random, tiny wrinkles in the sail (middle, left) doesn't bother my eye.

A photo of the topsail without the effect of backlighting. The dramatic shadows are a fun visual side-effect!

And a view of the main topsail from Camilla's port bow. Still, a little naked-looking.

The foot hangs below the mainmast top and is restrained by its crowsfeet. When fully-mounted, the foot will drop down another 10-15mm from its current position; a good sign that I've gotten a good handle on my overall sail measurements. There is no sail plan (per se) in the Sphinx kit. However, there are very helpful belaying plans for the basic rigging included.

 

I have used measurements taken directly from Camilla's yards as well as calculated sail dimensions based roughly on information in Lee's as well as David Antscherl's Swan series, Vol #IV and L. Petterson's books on rigging details. Once clewlines, bowlines and bunt lines are added, the sail will present even more convincing visual movement. Depending on the final placement in her diorama (the effects of wind and water), Camilla's yards may be braced to show correct positions on a tack; I don't yet know exactly what the angle of the yards will be.

 

Once all the sails are fully fabricated and formed, the robands, reef point ropes, all boltropes and cringles for sail management lines will be added. These final steps will be detailed once all Camilla's sails have been brought to this stage as explained in this update.

 

There's lots more critical details to come.

 

 

 

Edited August 16, 2022 by hollowneck
spelling, grammar

[mtaylor]

Your sails are looking super, Ron.   I like the translucence of them as it gives a more realistic look.

[hollowneck]

1 hour ago, mtaylor said:

Your sails are looking super, Ron.   I like the translucence of them as it gives a more realistic look.

Thanks, Mark.

I agree that part of creating realistic-looking sails is to have some translucency to them. By looking at paintings from the era one can see that actual canvas sails were thin enough to allow light transmission, despite the heaviness of the material.

[BobG]

This is an outstanding sail making tutorial. Thanks, Ron!

[Blue Ensign]

Interesting stuff Ron, well explained👍

 

 

B.E.

[hollowneck]

3 hours ago, BobG said:

This is an outstanding sail making tutorial. Thanks, Ron!

You are welcome, Bob, much appreciated.

I'm pleased that you are finding some of the details helpful. Should you choose to tackle making your own sails with my process, I believe the results will be quite rewarding.

[hollowneck]

2 minutes ago, Blue Ensign said:

Interesting stuff Ron, well explained👍

 

 

B.E.

Thank You, B.E.

Clearly, we both enjoy sharing our work. It seems to me that we both like teaching and appreciate being eager students as well: one can only teach by learning.

[Nipper]

14 hours ago, hollowneck said:

Thank You, B.E.

Clearly, we both enjoy sharing our work. It seems to me that we both like teaching and appreciate being eager students as well: one can only teach by learning.

As one who has much to learn,  thank you to both you and BE.  It is your efforts that help to make this such a special and satisfying hobby. 

[Rokket]

Great sails, thanks for sharing the technique.

[Gahm]

Excellent sail making technique . . . and very well explained! Thank you for sharing.

 

Thomas

[hollowneck]

9 hours ago, Rokket said:

Great sails, thanks for sharing the technique.

Thank you Rokket for looking in and the compliment! It's one of the steps I love about building model ships in this era. Sails breathe "life" (nearly literally) into a static model. The other step, of course, is creating the sea upon which her sails will carry her: the motion and then the motive!

 

6 hours ago, Gahm said:

Excellent sail making technique . . . and very well explained! Thank you for sharing.

 

Thomas

Thomas - many Thanks. I realize that sometimes my explanations get long-winded, but describing my complex process calls for more words, not fewer! I'm glad you as well as others appreciate the granular detail involved.

 

I need to mention that every time I get to this stage for my models (this will be the 5th one with sails) I learn something new, sometimes it's subtle improvements to technique, sometimes dramatic. Even a new tool, like my new thin line LED light table, which is a great help in the early sail drafting stages. There is such a deep well of limitless knowledge here. And I thank all of you for inspiration, critique and positive acknowledgement alike.

 

Edited August 15, 2022 by hollowneck

[hollowneck]

Steady as she goes...

 

Nine of Camilla's eleven sails are temporarily hung from their yards. After fabricating her final two courses (Main & Fore, the largest and last of her sails), I'll mount boltropes, reef points as well as rig and prep all the clews. After clews, the braces will be adjusted and/or added.

 

As can be seen here, the mizzen's gaff needs to be lowered a tad; luckily I've left enough rigging rope to do this without shorting the falls! The mizzen course is lashed to the mizzen mast and tied to the gaff spar and is loose-footed. This is a very tricky area to model since there is a large flag of the King's colors that gets rigged to the ensign staff just behind the large fore-aft sail. I may need to rig the flag higher-up to the gaff's end with an appropriate halliard line.

 

Bending the sails at this stage requires some delicate work, but this is how I've mounted sails previously and it works for me. This also my first model to mount and rig a spritsail topsail. More bowlines and bunts to figure out where to belay them! Meanwhile...

 

...Cpt. Pennypincher is hiding behind the mizzen course, keeping a sharp weather eye out for mischief by the riggers...

The beginning layout for Camilla's main course (on my sail's bond paper); these last two sails take up nearly the entire width of my new light table to draft. At the top of the photo, my reference for detailing this sail  and the fore course will be taken from David Antscherl's Swan Series Vol IV on rigging. Camilla is not a sixth-rate, however her rigging and sail complement is very similar. The width (call it breadth) of this main course measures approximately 14 1/2" to the very ends of the stunsail booms. In earlier months I seriously considered mounting stunsails when getting to these final stages of my build.

 

Now , it's Plan B...

 

No stunsails - as much as I'd like to make these and show Camilla with even more sail in her diorama. Adding stunsails - even on only one spar - would increase her total breadth by more than a foot! This would make her nearly 28-30" across her beam, nearly as wide as she is long. If I hold to this initial plan I've only recently realized this would require her diorama to be quite large since a large ship model must have a decent amount of "water" surrounding the portrayal. Why bother with a diorama presentation approach otherwise?

 

"Adios, stunsails."

Perhaps some other scale, or model - or life.

 

 

Edited August 16, 2022 by hollowneck
added text

[hollowneck]

As I hunker down on the remainder of my sailmaking and rigging (more details to come and be explained), I've been researching water right along for HMS Camilla's diorama.

Of dozens I've stashed on my computer, here's four very specific paintings I've been looking at for inspiration. My diorama setting is the English Channel. On very few occasions have I ever seen "blue water" in the Channel. Of course, there are sunny days with gloriously bluegreen aqua, however, I've rarely see them - especially when the sky is foreboding and squalls are rolling across the choppy water...enjoy.

 

All of these are beautiful, stunning depictions.

 

Making water and designing the presentation platform/case lies right around the bend - (ing - as in mounting all her sails)...

Probably one of the best candidates for my model's sea coloration. English Artist: Elliot (unsure of the date/era)

 

Perhaps the next best reference choice for water coloration. Although quite exaggerated, I like the choppiness of the wave action. But Love the French officer jumping from the stern, English lobsters in pursuit. French Artist (19th-C): Crepin

 

Then, for wave action (and sky!), I'm really relishing a possible attempt to depict this sort of stormy, squally sea. This is the HMS Indefatigable by contemporary English painter, Geoff Hunt. As many here know, this is the subject ship for Chris Watton's (Vanguard) next kit.

 

Or, the greyish/green rollers in the Channel. By Dutch contemporary painter: Platje

 

I have a dedicated "Skies/Weather" folder for photo/painting reference too. I'll share these when I start making water in earnest; my plan is to also show "sky" in Camilla's presentation. More on this later if I can figure-out some mechanics that aren' too awkward.

 

Cheerio.

Now back to those (pressing) sails...

 

 

Edited August 16, 2022 by hollowneck

[BobG]

This is one of the most interesting build logs I've ever read, Ron. I can't wait to watch you make the diorama. I say go for the dramatic and put her in stormy seas! 

[Blue Ensign]

Hi Ron, 

 

Re rigging the Ensign to the Ensign staff.

 

In a seascape setting under sail I think the Ensign would be worn at the Gaff from the Ensign halyard, rather than the staff which would normally be employed with the ship at anchor.

 

B.E.

[druxey]

William Elliott (active 1774–1810) was a lieutenant in the Royal Navy and marine painter.

Elliott gained some repute from his paintings of the naval actions between 1780 and 1790. He first appears as an exhibitor in 1774 at the Free Society of Artists, with 'A Perspective View of the European Factory at Canton in China,' and 'A View of the Green, &c. at Calcutta in Bengal.' At the Royal Academy he first appears as an honorary exhibitor in 1784 with 'A Frigate and Cutter in Chase;' to the same exhibition he subsequently contributed 'The Fleet in Port Royal Harbour, Jamaica, after the Action of 12 June 1781' (1785), 'View of the City of Quebec' (1786), 'Breaking the French Line during Lord Rodney's Action on 12 April 1782' (1787), 'The Fire at Kingston, Jamaica, on 8 Feb. 1782' (1788), 'The Action between H.M.S. Quebec and Le Surveillant' and 'The Action between H.M.S. Serapis and Le Bonhomme'.

 

More at: https://www.wikiwand.com/en/William_Elliott_(painter)

 

If using that image, allow for the yellowed varnish having altered the actual coloration of the painting. It is likely much bluer under.

[hollowneck]

7 hours ago, BobG said:

This is one of the most interesting build logs I've ever read, Ron. I can't wait to watch you make the diorama. I say go for the dramatic and put her in stormy seas! 

Thanks, BobG. When I decided to do a Build Log (my first), I knew I'd need to do many photos and detailed procedural descriptions. I'm pleased that you have found my work interesting. At this moment I AM thinking a choppy sea, some swells, Camilla heeling with filled sails. Stay tuned!

Edited August 17, 2022 by hollowneck

[hollowneck]

6 hours ago, Blue Ensign said:

In a seascape setting under sail I think the Ensign would be worn at the Gaff from the Ensign halyard, rather than the staff which would normally be employed with the ship at anchor.

Yes, this is how I've normally handled this and I was planning to do similarly with this model. This is the first model I've built with the stern ensign staff, so I was a little confused what to do: leave it or take it down? I'll likely remove it, not needed. Your explanation makes perfect sense: it's quite likely it wasn't mounted when underway. Thanks!

[hollowneck]

5 hours ago, druxey said:

If using that image, allow for the yellowed varnish having altered the actual coloration of the painting. It is likely much bluer under

Thank you, druxey for the information and the link.

 

Elliot was somewhat unique in that he was also a Royal Navy Lieutenant in addition to being an artist/painter/engraver.

Viewing a couple of his other paintings revealed to me that he had a very stylized approach to rendering his seas; "choppy" green-tinged water in several of his works.

 

His paintings are heavily varnished (evident in auction photos) and one doesn't need specialized optics to assess this. Several layers of varnish has indeed shifted the color hues beneath the layers, particularly after a century or two of aging! Old varnish (and often shellac) is very yellow-hued, sort of like one's vision before cataract surgery, wherein everything is tinted with an organic yellow filter.

 

I'm visualizing grey/blu water with a touch of green. Thankfully, my vision is post-cataract correction!  

Edited August 17, 2022 by hollowneck

[hollowneck]

Finished the fabrication of Camilla's last two sails today, the large main and fore courses. These were easily the most difficult to make which is why I guess I left them to last...😬

 

Like her other sails in these photos, all eleven of her working sails are temporarily mounted to determine if all is ready for the next stages of prepping their rigging.

 

However, before I mounted Camilla's last two sails I noticed that several of my rigging blocks (on the spritsail and mizzen topgallant braces - to name two) like to spring into a twist, which is a no-no. This is always an issue with single blocks and neither a unique nor new problem. I believe the tension of the rope strands that lash the block exerts sufficient enough rotation to twist a rigging line - like this:

There must be some easy solution to address this annoying fact. I had an idea. Here's what appears to be a very simple fix to this issue, as follows:

I coated the standing tarred line to the single blocks with Liquitex Matte Medium as an adhesive with only a tiny amount applied along the rope from its anchor point to its stropped block. The tarred line appears shiny here because the medium has been recently applied (toothpick as applicator). The small alligator is sufficient to hold the lines (and block) straight, untwisted while coating the rope; the clip holding the block is necessary before applying the matte medium. The adhesive will be nearly invisible when dry and will hold the block and lines in-place. The adhesive on the line nullifies the torsional rotation.

 

Twisting issue solved. I think. I'll see if my fix holds true in the coming days. In the meantime...

I shot this photo to check that my sizing for the main course was adequate.

Another overall photo with all sails now temporarily mounted. After I assess whether or not any last-minute sail fabrication adjustments or changes will be necessary, I'll proceed with each sail's additional rigging details. In this photo one can clearly see the "twist" to the lines for the mizzen topsail's braces. In fact, this pic caused me to figure something out to address this pesky problem. This said, note that this isn't a problem with the main course's bracing lines to the stern sheaves. I speculate that the thinner the rope and the more taut one rigs their lines, the more likely you'll run into the "twisties."

 

Cpt. Pennypincher has ordered that the stern ensign staff be removed since it will foul the mizzen course as it currently stands. Camilla's getting in good order, quite ship-shape, and with some good weather and a little Irish Luck, she'll be ready to leave her mooring within a fortnight...(or two)

Edited August 17, 2022 by hollowneck
explanatory text, grammar, some spell checking

[Nipper]

7 hours ago, hollowneck said:

Thank you, druxey for the information and the link.

 

Elliot was somewhat unique in that he was also a Royal Navy Lieutenant in addition to being an artist/painter/engraver.

Viewing a couple of his other paintings revealed to me that he had a very stylized approach to rendering his seas; "choppy" green-tinged water in several of his works.

 

His paintings are heavily varnished (evident in auction photos) and one doesn't need specialized optics to assess this. Several layers of varnish has indeed shifted the color hues beneath the layers, particularly after a century or two of aging! Old varnish (and often shellac) is very yellow-hued, sort of like one's vision before cataract surgery, wherein everything is tinted with an organic yellow filter.

 

I'm visualizing grey/blu water with a touch of green. Thankfully, my vision is post-cataract correction!  

Living close to the English Channel, I'd say that the sea colour in both Geoff Hunt's and Platje's paintings look just like the Channel on a fair day!

Nipper 

[druxey]

Looking very impressive with her wings spread!

[Thukydides]

It looks fantastic, I will definitely be trying your method when I get to the sails on the Alert.

[BenD]

This method for sail making is clearly a winner, I've even gone out and bought all the stuff I need to recreate it. Unbleached titanium is a really good color for sails.

 

@hollowneck The lines twisting up look like polyester rope. I'm assuming it's from crafty sailor. I got a few bags of that stuff to see what it's like. It likes to twist together at all opportunities, also unravels like a tornado when cut. It's one of the reasons I heat treat my polyester rope, it mostly eliminates these effects.  

[hollowneck]

6 hours ago, Nipper said:

Living close to the English Channel, I'd say that the sea colour in both Geoff Hunt's and Platje's paintings look just like the Channel on a fair day!

Nipper 

I'll trust the locals on this!

Thanks, Nipper. Yes, the Channel seas can certainly be like the Hunt & Platje paintings with their complex hues of muted blues. I'm leaning toward Camilla's sea looking as close as I can replicate it as depicted by Platje - not only the colors but the waves and swells. I've been drawn somewhat to the greens hue; on reflection, the Hunt & Platje colors will be a better choice.

[hollowneck]

3 hours ago, druxey said:

Looking very impressive with her wings spread!

Thank you, druxey.

I particularly like my dockside rat's view looking upward and into her majestic presence!

....not that she'd have sails unfurled in that spot...😳

[hollowneck]

2 hours ago, Thukydides said:

It looks fantastic, I will definitely be trying your method when I get to the sails on the Alert.

Thank You.

My techniques are multi-stepped, but not hard to accomplish. Your nicely executed build of Alert will be a great one to try my approach.

Edited August 17, 2022 by hollowneck

[hollowneck]

On 8/17/2022 at 10:55 AM, BenD said:

This method for sail making is clearly a winner, I've even gone out and bought all the stuff I need to recreate it. Unbleached titanium is a really good color for sails.

 

@hollowneck The lines twisting up look like polyester rope. I'm assuming it's from crafty sailor. I got a few bags of that stuff to see what it's like. It likes to twist together at all opportunities, also unravels like a tornado when cut. It's one of the reasons I heat treat my polyester rope, it mostly eliminates these effects.  

Thank you, BenD.

Yes, that acrylic color is "spot on" in my estimation. I'm wondering if you purchased the Liquitex rattle cans? The paint jars and tubes will work for this color too, it's just a more involved and tricky business to paint the porous silkspan sheets. Been there, done that.

 

Good eye, Ben. 👁️...The twisted lines are indeed rope from Crafty Sailor. As you well know, I've primarily sourced Ropes Of Scale for this build, but I have also used some "Crafty" rope as well as some older Syren stock. I liked your comment about my fixing of the "tornado rope;" I quickly learned that I had to apply a tiny drop of CA to a spot where I'd cut a length from the tiny spools or else it would instantly "explode" and essentially end up ruining an inch or two.

 

As you correctly point out, Ropes Of Scale rope does not unravel - and your heat treating...well, works a treat! I thank you for being a reliable and fairly-priced vendor that has focused on high-quality. In any business endeavor, it's extremely difficult to achieve all three of these essentials (as determined by customers!): Quality. Delivery. Price.

Congratulations.

 

 

 

Edited September 3, 2022 by hollowneck

[hollowneck]

Some important fabrication details for continuing with the prepping of the sails.

I've started the process of applying the boltropes to the sails. Here, the Mainsail's bolt rope has been glued to the tab linings on both leeches and the foot. The clamps and scissors are holding the rope in-place after aligning the rope along the three sides right up to the edges. This is looking at the aft side of the sail. The boltrope for all the sails is .40mm, tan (running rigging color). The edges of the sail have had Matte Medium acrylic adhesive sparingly applied. Small holes have been made along the two reef point linings; holes for the robands (to mount to the yard) have also been drilled thru at the sail's head (hard to see in this photo). Once the boltrope work is completed, the two lines of reef points will be threaded thru the holes made through the reef linings.

The bolt rope is "looped" at both corners of the Mainsail to form the clue cringles. The clamps hold the rope in place as the glue sets because the bolt rope loop (the very important clue cringles-both sides) will want to "unloop" itself and raise up from the corners if not held in-place.

 

Note that the shinyness of the Matte Medium adhesive seen here will disappear once its dried.

 

This step requires patience to get the loops consistent on both corners and the right size, like the one shown here. The bowline and bunt cringles will be created with another technique once this basic edge work has been completed and the adhesive has set.

A closeup of a properly formed clue cringle with its bolt rope loop.

You'll note the simulated bolt rope linings (beneath the rope in two places). These were fashioned previously with the folded-over "tabs" that also now have the invisible sail forming wires.

Another closeup of the corner formed by the leech and the foot bolt rope after it has dried completely. The rope is continuous around three sides of the sail. The two blocks are for the Clue line (smaller one) and the larger one, the Sheet line. Both blocks will be stropped and then mounted to these "looped" corner cringles. An identical process will be used on the Fore Course sail. The Tack lines also get fed through this Clue cringle per the next photo diagram.

The heavy Tack line ends in this exotic knot in full size practice which I'm not about to attempt - and at 1:64 scale, and would be beyond silly. I've rarely seen them even on rigged 1:48 models.

I will secure the end of the Tack to the sail's foot with a short "stopper" made from a small piece of dowel that will be inserted into a simple loop formed at the end of the Tack rope and fed thru the end of the Clue cringle. The illustration is from SeaWatch publications Swan Series, Vol IV book by David Antscherl. I'll show this full arrangement once I've mounted the stropped Clue and Sheet blocks to the cringle (first things first, per the diagram). This particular sail will be mounted (as will the Fore Course) with the clue blocks dangling in-place, ready to accept the Tack line mounting.

 

Note: the "Clueline block shown in the diagram is an odd and specialized block in full size practice; I've substituted a 5mm single sheave block which will get the job done without any issues.

 

The Matte Medium is used as an adhesive to glue the bolt rope securely to the sail's linings. The other bottle is necessary if you use my recommended technique for applying the adhesive with a fine, pointed brush (to minimize glue spread and speed the process along). The Brush Cleaner & Restorer is powerful stuff and does clean anything acrylic; it's made specifically for artist's paintbrushes and is pricey but it works really well - especially if your brush starts to set-up or you've forgotten to clean it right away. I also use this restorer/cleaner on brushes used with other acrylic paints throughout the build.

I have a small dish of tap water to slightly dilute the Matte Medium (it is quite viscous right out of its bottle). Lying across the water dish is a fine point sable "spotter" brush. Using this particular type and size of artist's brush (#2) allows you to work quickly with the fast-setting acrylic Matte Medium; don't worry though - it's not as quick-setting as CA!!

 

I rinse my brush in the water after each use and then give it a good clean with the Brush Restorer. Acrylic is sneaky stuff and penetrates into the fine hairs and will seize the brush up badly if you don't pay attention to cleaning, even over the course of just a few minutes. My recommendation: use the brush to apply the adhesive, give it a quick dip in the water and set it aside as you work the sail's bolt rope application ... after you've secured the bolt rope, immediately clean the brush with the Restorer. Repeat this process for each sail as you fab them or you'll be tossing-out quite a few good brushes.

A completed Clue cringle on one corner of the Mainsail after the Matte Medium has set. Note there is no shiny residue on either the rope or the the sail linings from the acrylic adhesive.

 

Here is a section of the Sheets, Tacks and Braces rigging plan for Sphinx, which happens to be the final plan sheet provided in the kit.

I've made notes (in pencil and red ink) to guide my selection of rigging blocks and rope for these critical (and complex) lines that help to bring all the sail's to life. The toggle for the Tack line is shown in the box for the Clue rigging at the end of the arrow. This is the spot for the small section of dowel that I'll make and insert to secure the Tack to the sail's Clue.

 

This process will be repeated with the Fore Course. The top sails and top gallants have a slightly simpler rigging, but the bolt rope mounting technique still applies to all the sails.

 

 

Edited August 18, 2022 by hollowneck

[AJohnson]

Thank you Ron for going into such detail for your sail construction technique.  Fascinating reading and definitely got me thinking on how to try that on my builds.  👏

 

Your work is very neat, your Camilla is looking stunning already with the sails test fitted.