I am basing it on Shevelev's experience, and as time shows, after a year nothing has changed much. I like the look of the picture, and if the copper will go even more into red shades I will like it even more)) but thanks for the advice!
HMS Victory [1805] 1:79 by serikoff. Started with Mantua -> Upgraded with John McKay's Anatomy.
Finally, I got to the copper plating again... The end of this process is getting closer and closer to me. But I really want to finish it all))) Then cover it with patina and hide the body with oil... And while all this is drying, you can start the long-awaited Aleart.
- Joined
- Dec 22, 2020
- Messages
- 19
- Points
- 48
Yes, I know Allan that the books out there (which I have all) they all show the grating at the bottom of the main mast. No today though, on the Victory are not there and to be quite fair I do not know why they should be....near the grating there is a great opening where the launching boat were! I cannot imagine how much water (when raining) would come down under the middle deck!! So in comparison to whatever is illustrated in the all anatomy books I am inclined, on my model, not to put the grating, after all I am making a model of the Victory as it is today and not as it was. Thanks for the response. Keep modelling
Massimo
Chacun "ses gouts et ses couleurs", mais c'est une très belle réussite au niveau de la pose du cuivre, bravo !
I have long promised to share my experiments with coating the wood with oil.
I have tried 3 types of oils: linseed, teak and tung. And now I will tell you about my conclusions, what I like and what I will cover the model with.
And let's start with the one I didn't like the least.
And this is Linseed oil. Its advantages are that it is affordable and cheap, easy to apply, doesn't dry for a long time, but it stinks really badly after a while, even away from the model. For me it became a very big problem. Other oils also had a little smell, but only if you got very close, and linseed smelled even 2 meters from the model and it was very irritating! And under this oil the wood gets very dark. If someone needs this effect, then this is for you.
The second oil I had hopes for, but it also didn't live up to expectations is Teak oil. There are no advantages for me at all. It is not easy to find, it is expensive, dries for a long time (although they promise that it will dry quickly), it must be diluted with solvents otherwise it is too thick to apply and most importantly, it is very shiny! This is not always good for a model. Or rather, it is often bad. If you do it for a museum look and cover it with bitumen varnish, this oil will do, but it is very difficult to apply and it is very difficult to achieve a good surface with it. Many layers need to be applied correctly, in a timely manner and with a special technique, which makes it at least inconvenient. I have seen good results with it, but I did not get such results, so it is not for me. The only thing I could more or less make with it was a stand for the model, I will show it later.
And my choice fell, as you guessed, on Tung oil. I have not yet decided whether I will cover it with bitumen varnish on top for the effect of antiquity, but even without this, I liked the coating under this oil the most. It does not have a shine (but on condition of one layer, and with two or more - a shine appears). And since it needs to be covered once (and not several times like others), then the time is spent on everything less. Yes, it also needs to be diluted with solvent 2:1 like teak, but I take solvent for artistic paints, which is odorless and this is not a problem. And although it dries for a long time (it is better to wait a month), any glue sticks to it perfectly. Nothing sticks to teak at all, to linen with difficulty. And this is very important for me, because after applying it I need to glue the part on top. This is all because it does not create a film on the surface like teak oil and, accordingly, reveals the texture of the wood more. On teak oil, the imitation of nailing is almost invisible, but on tung oil, any dents and cuts are clearly visible (which, of course, is sometimes not good if there are flaws in processing, but still). Well, another plus is that tung oil has a violet filter, and the wood under it does not darken, as under linseed. In a word, if you asked me what to choose, my answer is unequivocal - Tung!
Well, now to the experiments, or rather their results.
The photo below shows how much the wood darkened under linseed oil in a few months. (top - immediately after coating, bottom right and center - after several months, maybe six months, and bottom left - on top of the bitumen coating, it can be ignored in the comparison).
____________________
The next photo below is a coating of teak oil. On the right is just oil, on the left is a coating of bitumen. As you can see, under the oil the imitation of nailing is not visible at all. Only under the bitumen holes appear, and under the oil they are visible only in the area where the oil shines. And it shines strongly. The surface is glossy under the formed film.
______________________
Well, in the photo below - tung oil coating. On the left - one layer, on the right - two. With the second layer, a slight gloss appears, which increases with each layer. Similarly, the degree of darkening increases. With each layer, the surface darkens a little. One layer diluted with solvent 2:1 will be enough to achieve an excellent surface. The oil very strongly reveals the entire texture of the wood and any imitation of nailing or cuts will be immediately visible.
___________________
The situation is similar with the coating of the daru (sides).
Bottom right - linseed oil, left - under bitumen. Not only has the wood darkened (which is not entirely bad in this case), but the black stripes are glossy and not only under the bitumen, but also under just linseed oil.
___________________
Below in the photo: to the left of the center is teak oil, to the left is the same under bitumen. To the right of the center is tung oil, to the right is the same, but in two layers. As you can see, teak oil is very shiny, and tung oil does not shine at all and the black stripes remain matte.
So, it's up to you to decide. Maybe for someone what was a minus for me will be a decisive plus and vice versa.
So, I gave you the results, my opinion, and it's up to you to decide)))
By the way, if we compare... In the photo: the top grate was exposed to linseed oil 4 months ago, as well as the step frame and the steps themselves on the lower left grate. But the two lower grates with their frames were exposed to tung oil a month ago. Of course, we'll see what happens to them in another 3 months, but I think they definitely won't darken after linseed oil. (The deck hasn't been exposed to anything yet).
Speaking of decking... Here's a life hack for making fake nails.
To avoid drawing lines, you can cut the tape into strips and imitate nailing on the sides with a regular gel pen.
Only first you need to carefully rub the ball on very fine sandpaper (1000-1500 grain). Until it falls out. And after that you will have a sharp cylindrical tip, which can be used to press out such round dents. The technique is simple... we press with rotational movements and try on the testers, we remember the degree of force of this pressure. With practice, you get quite repeatable circles, you just need to practice. You can use any rotary tool, but at very slow speeds. And apply even less force, so as not to drill through the skin. When I get to the decks, I will definitely show you how it will look under tung oil. Good luck to everyone))
I have tried 3 types of oils: linseed, teak and tung. And now I will tell you about my conclusions, what I like and what I will cover the model with.
And let's start with the one I didn't like the least.
And this is Linseed oil. Its advantages are that it is affordable and cheap, easy to apply, doesn't dry for a long time, but it stinks really badly after a while, even away from the model. For me it became a very big problem. Other oils also had a little smell, but only if you got very close, and linseed smelled even 2 meters from the model and it was very irritating! And under this oil the wood gets very dark. If someone needs this effect, then this is for you.
The second oil I had hopes for, but it also didn't live up to expectations is Teak oil. There are no advantages for me at all. It is not easy to find, it is expensive, dries for a long time (although they promise that it will dry quickly), it must be diluted with solvents otherwise it is too thick to apply and most importantly, it is very shiny! This is not always good for a model. Or rather, it is often bad. If you do it for a museum look and cover it with bitumen varnish, this oil will do, but it is very difficult to apply and it is very difficult to achieve a good surface with it. Many layers need to be applied correctly, in a timely manner and with a special technique, which makes it at least inconvenient. I have seen good results with it, but I did not get such results, so it is not for me. The only thing I could more or less make with it was a stand for the model, I will show it later.
And my choice fell, as you guessed, on Tung oil. I have not yet decided whether I will cover it with bitumen varnish on top for the effect of antiquity, but even without this, I liked the coating under this oil the most. It does not have a shine (but on condition of one layer, and with two or more - a shine appears). And since it needs to be covered once (and not several times like others), then the time is spent on everything less. Yes, it also needs to be diluted with solvent 2:1 like teak, but I take solvent for artistic paints, which is odorless and this is not a problem. And although it dries for a long time (it is better to wait a month), any glue sticks to it perfectly. Nothing sticks to teak at all, to linen with difficulty. And this is very important for me, because after applying it I need to glue the part on top. This is all because it does not create a film on the surface like teak oil and, accordingly, reveals the texture of the wood more. On teak oil, the imitation of nailing is almost invisible, but on tung oil, any dents and cuts are clearly visible (which, of course, is sometimes not good if there are flaws in processing, but still). Well, another plus is that tung oil has a violet filter, and the wood under it does not darken, as under linseed. In a word, if you asked me what to choose, my answer is unequivocal - Tung!
Well, now to the experiments, or rather their results.
The photo below shows how much the wood darkened under linseed oil in a few months. (top - immediately after coating, bottom right and center - after several months, maybe six months, and bottom left - on top of the bitumen coating, it can be ignored in the comparison).
____________________
The next photo below is a coating of teak oil. On the right is just oil, on the left is a coating of bitumen. As you can see, under the oil the imitation of nailing is not visible at all. Only under the bitumen holes appear, and under the oil they are visible only in the area where the oil shines. And it shines strongly. The surface is glossy under the formed film.
______________________
Well, in the photo below - tung oil coating. On the left - one layer, on the right - two. With the second layer, a slight gloss appears, which increases with each layer. Similarly, the degree of darkening increases. With each layer, the surface darkens a little. One layer diluted with solvent 2:1 will be enough to achieve an excellent surface. The oil very strongly reveals the entire texture of the wood and any imitation of nailing or cuts will be immediately visible.
___________________
The situation is similar with the coating of the daru (sides).
Bottom right - linseed oil, left - under bitumen. Not only has the wood darkened (which is not entirely bad in this case), but the black stripes are glossy and not only under the bitumen, but also under just linseed oil.
___________________
Below in the photo: to the left of the center is teak oil, to the left is the same under bitumen. To the right of the center is tung oil, to the right is the same, but in two layers. As you can see, teak oil is very shiny, and tung oil does not shine at all and the black stripes remain matte.
So, it's up to you to decide. Maybe for someone what was a minus for me will be a decisive plus and vice versa.
So, I gave you the results, my opinion, and it's up to you to decide)))
By the way, if we compare... In the photo: the top grate was exposed to linseed oil 4 months ago, as well as the step frame and the steps themselves on the lower left grate. But the two lower grates with their frames were exposed to tung oil a month ago. Of course, we'll see what happens to them in another 3 months, but I think they definitely won't darken after linseed oil. (The deck hasn't been exposed to anything yet).
Speaking of decking... Here's a life hack for making fake nails.
To avoid drawing lines, you can cut the tape into strips and imitate nailing on the sides with a regular gel pen.
Only first you need to carefully rub the ball on very fine sandpaper (1000-1500 grain). Until it falls out. And after that you will have a sharp cylindrical tip, which can be used to press out such round dents. The technique is simple... we press with rotational movements and try on the testers, we remember the degree of force of this pressure. With practice, you get quite repeatable circles, you just need to practice. You can use any rotary tool, but at very slow speeds. And apply even less force, so as not to drill through the skin. When I get to the decks, I will definitely show you how it will look under tung oil. Good luck to everyone))
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It is hard to tell from the photos, but does the shine from the oil stay or does it dull so it looks more realistic. Shiny deck, slip and fall, and all that...
I like the punch to simulate the deck nail covers. As the deck nails were covered with either round or diamond shaped wood pieces I can see making a diamond shaped punch that could look awesome. Maybe tap the needle with a hammer to take the shape from round to square? I might give that a try for a larger scale. Thanks for the idea!!
Allan
I like the punch to simulate the deck nail covers. As the deck nails were covered with either round or diamond shaped wood pieces I can see making a diamond shaped punch that could look awesome. Maybe tap the needle with a hammer to take the shape from round to square? I might give that a try for a larger scale. Thanks for the idea!!
Allan
it all depends on the density of the wood and the force of pressing. Strong pressing will lead to the penetration of the entire dost and then you will get a non-round dent in just a hole and the inner part will remain in the tips. therefore you need to press carefully, this comes with practice. And regarding the color, yes, it is a matter of taste and choice of each.
A really informative post with the three oils. Those test results and photos are extremely helpful.
Good evening Sergey. Informative post. Thanks for sharing this information. Cheers GrantI have long promised to share my experiments with coating the wood with oil.
I have tried 3 types of oils: linseed, teak and tung. And now I will tell you about my conclusions, what I like and what I will cover the model with.
View attachment 500893
And let's start with the one I didn't like the least.
And this is Linseed oil. Its advantages are that it is affordable and cheap, easy to apply, doesn't dry for a long time, but it stinks really badly after a while, even away from the model. For me it became a very big problem. Other oils also had a little smell, but only if you got very close, and linseed smelled even 2 meters from the model and it was very irritating! And under this oil the wood gets very dark. If someone needs this effect, then this is for you.
The second oil I had hopes for, but it also didn't live up to expectations is Teak oil. There are no advantages for me at all. It is not easy to find, it is expensive, dries for a long time (although they promise that it will dry quickly), it must be diluted with solvents otherwise it is too thick to apply and most importantly, it is very shiny! This is not always good for a model. Or rather, it is often bad. If you do it for a museum look and cover it with bitumen varnish, this oil will do, but it is very difficult to apply and it is very difficult to achieve a good surface with it. Many layers need to be applied correctly, in a timely manner and with a special technique, which makes it at least inconvenient. I have seen good results with it, but I did not get such results, so it is not for me. The only thing I could more or less make with it was a stand for the model, I will show it later.
And my choice fell, as you guessed, on Tung oil. I have not yet decided whether I will cover it with bitumen varnish on top for the effect of antiquity, but even without this, I liked the coating under this oil the most. It does not have a shine (but on condition of one layer, and with two or more - a shine appears). And since it needs to be covered once (and not several times like others), then the time is spent on everything less. Yes, it also needs to be diluted with solvent 2:1 like teak, but I take solvent for artistic paints, which is odorless and this is not a problem. And although it dries for a long time (it is better to wait a month), any glue sticks to it perfectly. Nothing sticks to teak at all, to linen with difficulty. And this is very important for me, because after applying it I need to glue the part on top. This is all because it does not create a film on the surface like teak oil and, accordingly, reveals the texture of the wood more. On teak oil, the imitation of nailing is almost invisible, but on tung oil, any dents and cuts are clearly visible (which, of course, is sometimes not good if there are flaws in processing, but still). Well, another plus is that tung oil has a violet filter, and the wood under it does not darken, as under linseed. In a word, if you asked me what to choose, my answer is unequivocal - Tung!
Well, now to the experiments, or rather their results.
The photo below shows how much the wood darkened under linseed oil in a few months. (top - immediately after coating, bottom right and center - after several months, maybe six months, and bottom left - on top of the bitumen coating, it can be ignored in the comparison).
View attachment 500894
____________________
The next photo below is a coating of teak oil. On the right is just oil, on the left is a coating of bitumen. As you can see, under the oil the imitation of nailing is not visible at all. Only under the bitumen holes appear, and under the oil they are visible only in the area where the oil shines. And it shines strongly. The surface is glossy under the formed film.
View attachment 500895
______________________
Well, in the photo below - tung oil coating. On the left - one layer, on the right - two. With the second layer, a slight gloss appears, which increases with each layer. Similarly, the degree of darkening increases. With each layer, the surface darkens a little. One layer diluted with solvent 2:1 will be enough to achieve an excellent surface. The oil very strongly reveals the entire texture of the wood and any imitation of nailing or cuts will be immediately visible.
View attachment 500896
___________________
The situation is similar with the coating of the daru (sides).
Bottom right - linseed oil, left - under bitumen. Not only has the wood darkened (which is not entirely bad in this case), but the black stripes are glossy and not only under the bitumen, but also under just linseed oil.
View attachment 500897
___________________
Below in the photo: to the left of the center is teak oil, to the left is the same under bitumen. To the right of the center is tung oil, to the right is the same, but in two layers. As you can see, teak oil is very shiny, and tung oil does not shine at all and the black stripes remain matte.
View attachment 500898
View attachment 500899
So, it's up to you to decide. Maybe for someone what was a minus for me will be a decisive plus and vice versa.
So, I gave you the results, my opinion, and it's up to you to decide)))
By the way, if we compare... In the photo: the top grate was exposed to linseed oil 4 months ago, as well as the step frame and the steps themselves on the lower left grate. But the two lower grates with their frames were exposed to tung oil a month ago. Of course, we'll see what happens to them in another 3 months, but I think they definitely won't darken after linseed oil. (The deck hasn't been exposed to anything yet).
View attachment 500900
Speaking of decking... Here's a life hack for making fake nails.
View attachment 500901
To avoid drawing lines, you can cut the tape into strips and imitate nailing on the sides with a regular gel pen.
View attachment 500902
Only first you need to carefully rub the ball on very fine sandpaper (1000-1500 grain). Until it falls out. And after that you will have a sharp cylindrical tip, which can be used to press out such round dents. The technique is simple... we press with rotational movements and try on the testers, we remember the degree of force of this pressure. With practice, you get quite repeatable circles, you just need to practice. You can use any rotary tool, but at very slow speeds. And apply even less force, so as not to drill through the skin. When I get to the decks, I will definitely show you how it will look under tung oil. Good luck to everyone))
Last edited:
Друзі, земляки, українці, потрібна ваша допомога з розпилом на рейки!
Хто живе в Україні (в ідеалі в Києві) потрібна ваша допомога, бо я вже не можу))) Нема де розпустити на рійки грушу, всі або прошені, або їм масштаби потрібні в 100500 кубів.
Є матеріал (груша) але моя пилка ніхріна її не ріже, пАлить і клинить. Тому дуже потрібна в ідеалі ленточна пилка (можна і звичайна, головне, щоб не рвала і не з велиикими відходами) і рейсмус, щоб це все калібранути. Не за безплатно, звичайно, можу грушею поділитися, можна і за гроші.
Є заготовки строгані 15 х 35 х 450-800мм і потрібно розпустити на 5х35мм ще на 4х35 і бажано 3..., 2... і 1,5... мм. Є також брусок з дуже для мене цінної груші, і його потрібно зовсім бережно розпустити)) Я думаю ви розумієте, що такий скарб не хочется в труху. Тому буду вдячний, якщо хтось відгукнеться. Дякую!
In this post I ask fellow countrymen from Ukraine to help me with sawing my material (pear) into planks (blanks for slats), since my saw cannot saw thicker than a certain size. I don't know why, but I can't find where this can be done not on an industrial scale, because everywhere they want to take on large orders.
Хто живе в Україні (в ідеалі в Києві) потрібна ваша допомога, бо я вже не можу))) Нема де розпустити на рійки грушу, всі або прошені, або їм масштаби потрібні в 100500 кубів.
Є матеріал (груша) але моя пилка ніхріна її не ріже, пАлить і клинить. Тому дуже потрібна в ідеалі ленточна пилка (можна і звичайна, головне, щоб не рвала і не з велиикими відходами) і рейсмус, щоб це все калібранути. Не за безплатно, звичайно, можу грушею поділитися, можна і за гроші.
Є заготовки строгані 15 х 35 х 450-800мм і потрібно розпустити на 5х35мм ще на 4х35 і бажано 3..., 2... і 1,5... мм. Є також брусок з дуже для мене цінної груші, і його потрібно зовсім бережно розпустити)) Я думаю ви розумієте, що такий скарб не хочется в труху. Тому буду вдячний, якщо хтось відгукнеться. Дякую!
In this post I ask fellow countrymen from Ukraine to help me with sawing my material (pear) into planks (blanks for slats), since my saw cannot saw thicker than a certain size. I don't know why, but I can't find where this can be done not on an industrial scale, because everywhere they want to take on large orders.
- Joined
- Mar 22, 2024
- Messages
- 358
- Points
- 168
I suggest you go to a museum (like the one in Mikolaiv if you can get there ok) with ship models. Ask to see the technician or curator who cares for them. Take a model with you and when you meet show your model and ask him if he knows where you can get some planks sawn. With a bit of luck they will do it for you.
I will soon dream about this copper sheathing))) I am already at the finish line, but the end is getting closer, the further it seems. Today I completely closed the front and started to sheathe the keel. There are a couple of lines left at the back and in fact this is work on the keel. Well, let's not forget about the rudder, but it is not the same scale)) I am afraid to guess how much more work there is...
Impressive symmetry! It is a joy to see this level of effort!
Thank you very much. Although it looks symmetrical, unfortunately I only achieved almost perfection from the back. But from the front, unfortunately, I had to cheat to correct the moment with the discrepancy. If you look clearly from the front and with a telephoto lens, you can still see a small discrepancy in one area, but it is already as it is))) From other angles it is difficult or impossible to see. So I am generally happy, although I am very tired of this event)) I will not do copper plating anymore. P.S. I always admire your work and your model ... this is the level!
I don't want to complain, but the end of the planking has been dragging on for too long. I'm also sick, which slows everything down even more.
Today I completely finished the planking under the stern. I planked the entire keel, leaving only the imitation of the false keel. And only the front end on the bow remains, one strip and that's it, but! This is only the hull, and let's not forget about the rudder. But this is already a trifle compared to everything else.
I ordered Scotch-Brite for polishing copper, I really hope that it will not undermine the plates. The polishing stage scares me as much as the stage of applying the patina. It seems that I already liked the results that I experimented with, but I will still make another test and check again. Fortunately, there is a lot of copper left. I expected that 6 sheets would be used. But in the process it seemed to me that this would not be enough and I ordered two more sheets of chalk. So, I spent 5 sheets on almost the entire body, without the steering wheel, and naturally, after covering the steering wheel from the 6th, it will be a lot, but what to do with the 7th and 8th? ))) I can’t return it to the store, selling two is also pointless... But now you know that for such a scale 6 sheets are more than enough, even taking into account the uneconomical consumption and the reserve for defects.
When I remove the tape, I'll count how many plates there are on the case, I'm interested myself. I didn't glue them individually, so I know how many fragments there are in total, and the difference in the total number of plates will tell me how much faster it is to fix them individually.
I kind of like the result, but I have mixed feelings. Firstly, it's not quite like the original. Secondly, there are some flaws and they can't be removed. I'll hope that the patina will hide everything. And again, I'm worried about how the copper will look after polishing and patina... In short, I'll finish it and see what's left to guess))
Today I completely finished the planking under the stern. I planked the entire keel, leaving only the imitation of the false keel. And only the front end on the bow remains, one strip and that's it, but! This is only the hull, and let's not forget about the rudder. But this is already a trifle compared to everything else.
I ordered Scotch-Brite for polishing copper, I really hope that it will not undermine the plates. The polishing stage scares me as much as the stage of applying the patina. It seems that I already liked the results that I experimented with, but I will still make another test and check again. Fortunately, there is a lot of copper left. I expected that 6 sheets would be used. But in the process it seemed to me that this would not be enough and I ordered two more sheets of chalk. So, I spent 5 sheets on almost the entire body, without the steering wheel, and naturally, after covering the steering wheel from the 6th, it will be a lot, but what to do with the 7th and 8th? ))) I can’t return it to the store, selling two is also pointless... But now you know that for such a scale 6 sheets are more than enough, even taking into account the uneconomical consumption and the reserve for defects.
When I remove the tape, I'll count how many plates there are on the case, I'm interested myself. I didn't glue them individually, so I know how many fragments there are in total, and the difference in the total number of plates will tell me how much faster it is to fix them individually.
I kind of like the result, but I have mixed feelings. Firstly, it's not quite like the original. Secondly, there are some flaws and they can't be removed. I'll hope that the patina will hide everything. And again, I'm worried about how the copper will look after polishing and patina... In short, I'll finish it and see what's left to guess))
- Joined
- Oct 17, 2020
- Messages
- 1,506
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- 438
just for information, the actual copper plates have this nailing which is different from the mounted ones.FrankI don't want to complain, but the end of the planking has been dragging on for too long. I'm also sick, which slows everything down even more.
Today I completely finished the planking under the stern. I planked the entire keel, leaving only the imitation of the false keel. And only the front end on the bow remains, one strip and that's it, but! This is only the hull, and let's not forget about the rudder. But this is already a trifle compared to everything else.
I ordered Scotch-Brite for polishing copper, I really hope that it will not undermine the plates. The polishing stage scares me as much as the stage of applying the patina. It seems that I already liked the results that I experimented with, but I will still make another test and check again. Fortunately, there is a lot of copper left. I expected that 6 sheets would be used. But in the process it seemed to me that this would not be enough and I ordered two more sheets of chalk. So, I spent 5 sheets on almost the entire body, without the steering wheel, and naturally, after covering the steering wheel from the 6th, it will be a lot, but what to do with the 7th and 8th? ))) I can’t return it to the store, selling two is also pointless... But now you know that for such a scale 6 sheets are more than enough, even taking into account the uneconomical consumption and the reserve for defects.
View attachment 503957
View attachment 503958
View attachment 503961
When I remove the tape, I'll count how many plates there are on the case, I'm interested myself. I didn't glue them individually, so I know how many fragments there are in total, and the difference in the total number of plates will tell me how much faster it is to fix them individually.
I kind of like the result, but I have mixed feelings. Firstly, it's not quite like the original. Secondly, there are some flaws and they can't be removed. I'll hope that the patina will hide everything. And again, I'm worried about how the copper will look after polishing and patina... In short, I'll finish it and see what's left to guess))
You have done a beautiful job on the copper. You can be proud of your work and no matter the small defects, there will always be some on the installation of the copper.
I advise you to polish the copper and remove the glue burrs with a small rotating brush. I did it with the DREMEL and it gave excellent results by removing all traces of glue and flattening the corners of the copper plates.
I advise you to polish the copper and remove the glue burrs with a small rotating brush. I did it with the DREMEL and it gave excellent results by removing all traces of glue and flattening the corners of the copper plates.
Thanks for the advice. I chose a slightly different method, I'll show it later, but I'll try yours too. I'll experiment with different ones to get what works for me.
This is not the biggest problem in my case)))
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I am pretty sure that there would have been an awning over the boats and the opening both when it was wet. It could be arranged to allow some ventilation even in very inclement weather.