As you can see, you have needed quite some work to level all planks. Mainly in the Bow, which can be weekenet/ sorry for my commemts
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Question Are gunports made correct or is it these gummy ports.-
Some tutorials to help with planking. See attachments.
Did you make the clamps shown here or buy them. If bought, where?
I made them using standard fold-back clips: I cut the handles off one clip and inserted them into two other clips to create two clamps. I’ve seen this trick somewhere before, but I can’t remember where.
I hope this explanation helps ...
No problem at all. I’ve learned so much while building this ship, and the comments and information on SOS have been a big help. Constructive feedback is always welcome
Thank you. I am going to try it.
Added some extra detail to the cabin today. The space in the original kit was… well, completely empty. I’ve been looking into the deck configuration, but the Artesanía Latina version differs quite a lot from other kits and reference models. That makes it difficult to find reliable sources or matching examples
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Hey Koedec,
I think your SR is really beautiful. Sure, it's not historically accurate. But I don't think that was the goal. Your goal, I think, is to build a beautiful ship. The way you've built it so far, it's really great. Plus, you're really good with the milling machine. You've created something really beautiful with your decorations. I'll definitely be following your build report!
I think your SR is really beautiful. Sure, it's not historically accurate. But I don't think that was the goal. Your goal, I think, is to build a beautiful ship. The way you've built it so far, it's really great. Plus, you're really good with the milling machine. You've created something really beautiful with your decorations. I'll definitely be following your build report!
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I really like these incised accents that you are incorporating into the build. They are unconventional for ship modeling, but so effective because they capture light and shadow to such good effect.
It’s probably too late, at this stage of the build, but it made me wonder whether one could design an incised upper bulwark frieze lattice that mimics what you see in the Pierre Vary color portrait:
For all practical purposes, I don’t know how one would go about this unless they had templated a precisely fitted veneer sheet to cover the bulkheads, as opposed to individual plank.
The CNC. seems capable of cutting very fine incised lines so, theoretically, one could also incise plank lines.
Anyway, I thought I’d share the idea.
It’s probably too late, at this stage of the build, but it made me wonder whether one could design an incised upper bulwark frieze lattice that mimics what you see in the Pierre Vary color portrait:
For all practical purposes, I don’t know how one would go about this unless they had templated a precisely fitted veneer sheet to cover the bulkheads, as opposed to individual plank.
The CNC. seems capable of cutting very fine incised lines so, theoretically, one could also incise plank lines.
Anyway, I thought I’d share the idea.
Well, certainly not in Ultra-Marine, however, it is not impossible that the dead-works could have been completely painted in this light copper-oxide based blue that Koedek has chosen. I have a loose theory that if the Royal Louis was originally painted all-white (Hyatt’s 1677 account), as flagship of the Mediterranean fleet, then perhaps SR was painted all-blue, as representative of the Atlantic fleet.
I have no textual basis to support this, but it is curious that Vary would represent the ship in these colors, unless there were some basis for it. What is known for sure is that the French always painted the dead-works (usually ventre-de-biche) because they were fastened with iron. Only the live works were tree-nailed.
Whatever the reality may have been, I do find it to be a striking choice.
I have no textual basis to support this, but it is curious that Vary would represent the ship in these colors, unless there were some basis for it. What is known for sure is that the French always painted the dead-works (usually ventre-de-biche) because they were fastened with iron. Only the live works were tree-nailed.
Whatever the reality may have been, I do find it to be a striking choice.
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