Wildmanden 1754 by Arthur Goulart

[Waldemar]

 

9 hours ago, Arthur Goulart said:

The one thing I didn't understand is how you came up with the position of the thick auxiliary construction lines. Could you elucidate it? Thanks a lot!!

 

I will start from the beginning, as it may be useful to others as well.

 

To generate hollowing/bottom curves, Turesen constructed a separate progressive scale, specifically using a mathematical progression (in this case +2). Based on this, he built triangle ‘A’ (on the right of the below reproduction), which triangle was particularly useful in manual drawing for quickly scaling this linear scale.

Fortunately, in a separate diagram (on the left of the below reproduction), Turesen has also shown how he used this progressive scale to generate the hollowing/bottom curve for the fashion piece. All that is needed is to adjust the progressive scale to both defining arms of the curve by scaling and rotating it appropriately, then, starting from the points on both scales, draw two sets of lines parallel to both arms, and finally connect the points where these lines intersect. And, voilà, the hollowing/bottom curve is ready .

 

 

In order to maintain geometric consistency and, consequently, to obtain harmonious, smooth shapes, the same procedure and the same progressive scale should be applied to all other frames. In addition, the vertices and terminating ends of both arms of the hollowing/bottom curves for all frames must necessarily lie on a curve with a harmoniously smooth course, preferably on a straight line in the ‘body plan’ projection.
 

— The location of point ‘B’ is the spot where the curve of the fashion piece changes from convex to concave (which may be also said of the start of the hollowing/bottom curves for all other frames), and it is even marked by Turesen himself on his diagram as point ‘L’ (see above).

— Point ‘C’ is the apex of both arms defining the hollowing/bottom curve of the fashion piece.

— Points ‘A’ and ‘D’ (the latter is the apex of both arms defining the hollowing/bottom curve) were found in such a way that they meet the following conditions: the course of the hollowing/ bottom curve for the master frame is consistent with the course of this curve on the original plan, and, the resulting lines ‘AB’ and ‘DC’ must generate the correct shape (i.e. consistent with the original drawing) of the hollowing/bottom curves for all other frames. Finding these points “A” and ‘D’ is a fairly typical iterative operation based on trial and error fitting.

— Point ‘E’ is the spot where the first bend connects to the keel assembly. In a sense, the geometric nature of this point is similar to point ‘C’.

— Point ‘F’ is again an empirically found spot where the frame contour switches from convex (or straight) to concave form. As with the aft part of the hull, the resulting lines ‘DE’ and ‘AF’ must meet the conditions described above for lines “AB” and ‘DC’, i.e. they must correctly define the coordinates for the arms of the hollowing/bottom curves of all frames.  

 

 

 

[Martes]

9 hours ago, Arthur Goulart said:

I wonder what's the plus of not having the wales blended into the planking. Maybe easier construction? As the thinner planks would be easier to bend.

 

2 hours ago, Kenchington said:

I suspect psychology or perhaps I should say the thought patterns of shipwrights, prolonged by tradition and conservatism.

 

A bit of both, I suppose. But it is definitely more expensive and requires more time, effort and quality control to produce, install and post-process uneven planks, thinner at one side and thicker at the other, that form the blended wale and have to be precisely touching one another. The British adopted this practice only in the wake of the captured Danish fleet, as they were really impressed by the Danish workmanship.

 

11 hours ago, Arthur Goulart said:

That plan is for 60 gun ships built based on Fyen (1749), that TJM taught us about.

 

16 hours ago, Martes said:

And it is this form that reached Denmark and was studied, and unless I am much mistaken, it does bear some relation to the design of the Wildmanden.

Note that in itself this is a case of reverse-engineering of a French design that passed through British hands.