Nice work, Sergey. ‘It’s all in the details!’
Regards, Peter
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HMS Alert [1777] 1:48 POF by serikoff. (Two hulls: skeleton and fully rigged)
Regards, Peter
Thank you so much, friends, for the kind words! It’s very motivating!
Friends, colleagues...
For anyone interested in how to turn a photograph into a 3D object — I’ve written a post in the relevant thread; prepare to be amazed...
at the link >>>
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Chapter 26. On the Decks (Part 4)
4/
Pumps. (continuation)
So, let's continue... I didn't expect the pumps to take up so much time, but the main thing is that I'm really pleased with the result. It's not quite finished yet—I still have the securing stage to go—but for now, it's 90% complete...
I frankly disliked the design Goodwin depicted in all his anatomical studies regarding the transition from the lever to the piston rod (the hook). That version appeared in another book as well, but I am more than certain it was merely a schematic representation; I highly doubt such a design would have functioned properly (though I could be mistaken). Instead, I followed a design I had seen in several sources—including museum pieces, though I no longer recall exactly which ones. The piston rod passed through the lever, and a reinforcing bracket was fitted around the lever to prevent chafing at that point. I liked that approach, so that is the one I used.
Before assembly, I coated the pear wood with pure Tung oil (I’m specifying this one last time; from now on, this is exactly how I’ll always do it). I dampen a paper towel (or occasionally a cloth), wipe the wood, and immediately wipe off the excess with a dry paper towel. I apply Danish oil the same way. Sometimes I might use a slightly damp brush if I can't reach into a recess, but I immediately wipe away the excess.
I treat the copper parts in the same standard way (I am specifying this one last time; the procedures remain unchanged from here on out). I work wearing nitrile gloves, so the copper parts aren't soiled with grease, and I don't need to degrease them. I dilute the BB solution 1:5 with plain water and perform the first exposure for 18–20 minutes. Then, I rinse the parts, let them air-dry for about 20 minutes, and use a very soft brush to sweep away the residue/film from the surface. Next, I perform a second exposure in a 1:3 BB-to-water solution for 9–10 minutes. After that, I rinse and let them air-dry again—this time for longer, 30 minutes or more. Once the film is lightly brushed off, the parts are ready to use. This method takes time, but the results are highly predictable. It produces a very dark graphite color—not pure black—with a durable, uniform coating that doesn't flake or crumble. Naturally, the finish remains vulnerable to scratches from hard objects, but that has always been the case. I don't specifically repair minor chips or scuffs; they add a natural look, and the dark copper exposed underneath mimics the rust on forged iron. For a museum-quality appearance, this is actually a plus.
A few macro shots:
And here is how it will look on the model, under Nelson's watchful eye:
Finally, the pumps are almost done... and I can move on to the next part—the flue.
4/
Pumps. (continuation)
So, let's continue... I didn't expect the pumps to take up so much time, but the main thing is that I'm really pleased with the result. It's not quite finished yet—I still have the securing stage to go—but for now, it's 90% complete...
I frankly disliked the design Goodwin depicted in all his anatomical studies regarding the transition from the lever to the piston rod (the hook). That version appeared in another book as well, but I am more than certain it was merely a schematic representation; I highly doubt such a design would have functioned properly (though I could be mistaken). Instead, I followed a design I had seen in several sources—including museum pieces, though I no longer recall exactly which ones. The piston rod passed through the lever, and a reinforcing bracket was fitted around the lever to prevent chafing at that point. I liked that approach, so that is the one I used.
Before assembly, I coated the pear wood with pure Tung oil (I’m specifying this one last time; from now on, this is exactly how I’ll always do it). I dampen a paper towel (or occasionally a cloth), wipe the wood, and immediately wipe off the excess with a dry paper towel. I apply Danish oil the same way. Sometimes I might use a slightly damp brush if I can't reach into a recess, but I immediately wipe away the excess.
I treat the copper parts in the same standard way (I am specifying this one last time; the procedures remain unchanged from here on out). I work wearing nitrile gloves, so the copper parts aren't soiled with grease, and I don't need to degrease them. I dilute the BB solution 1:5 with plain water and perform the first exposure for 18–20 minutes. Then, I rinse the parts, let them air-dry for about 20 minutes, and use a very soft brush to sweep away the residue/film from the surface. Next, I perform a second exposure in a 1:3 BB-to-water solution for 9–10 minutes. After that, I rinse and let them air-dry again—this time for longer, 30 minutes or more. Once the film is lightly brushed off, the parts are ready to use. This method takes time, but the results are highly predictable. It produces a very dark graphite color—not pure black—with a durable, uniform coating that doesn't flake or crumble. Naturally, the finish remains vulnerable to scratches from hard objects, but that has always been the case. I don't specifically repair minor chips or scuffs; they add a natural look, and the dark copper exposed underneath mimics the rust on forged iron. For a museum-quality appearance, this is actually a plus.
A few macro shots:
And here is how it will look on the model, under Nelson's watchful eye:
Finally, the pumps are almost done... and I can move on to the next part—the flue.
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The attention to detail is amazing !
Unglaublich schön. Das schaut sensationell aus. Alles sehr stimmig. Wie immer sehr präzise gefertigt.Super Sergey! Auch der farbliche Kontrast zu dem Zimmerwerk ( Decksbalken ) einfach sensationell. Für mich bist Du ein Künstler im historischen Modellbau.
Thank you, friends—you are my most loyal commenters! I’m so glad you enjoy it and leave feedback.
Chapter 26. On the Decks (Part 4)
5/
Stove and Flue.
The kit includes metal parts for assembling the entire stove, and the quality is actually quite good.
However, I’ve put that task on hold for now, since I don’t plan to install the stove inside the first hull; instead, I want to place it as a separate element of the overall display next to the ship (alongside the cannons, anchors, boat, and perhaps a few other items).
As for the second hull, the stove isn't fully visible anyway, so I initially modeled only the chimney—though "modeled" might be a bit of an overstatement!
))))
Then I 3D-printed it, fitted it to the frame, and coated it with copper.
I started by inking it using my usual method, but the smokestack—with its very smooth, straight walls—looked boring and lacked a worn appearance. So, I applied some weathering. Since the metal heated up and accumulated soot—which would have been scrubbed off—combined with the effects of saltwater and temperature, the part clearly needed to look heavily weathered.
Here is the technique I used: After two standard applications, the part had already turned a dark graphite color. Next, I diluted some pure BB [Burnishing Fluid] with water—mixing it 1:1 (or with slightly more BB)—and applied it with a brush. The top layer began to break down and flake off in places, so I dabbed the tip of the brush against the surface to create localized areas of deterioration. Then, I gently brushed away the loose flakes. I repeated this process until I was completely satisfied with the result. I don't recommend doing this with undiluted BB, as it can leave purple streaks and severely damage the surface; that’s why it needs to be diluted with water. However, this likely only works on a polished surface like the one I had; I haven't tried it on a rough surface. Experimentation is key here...
Against the backdrop of the clean deck, this might seem excessive right now, but don't forget that my goal is a museum-quality look—and that involves bitumen, the play of shadows, and dark tones. So, in the end, this detail will blend in perfectly.
I haven't glued anything together yet... each part is fabricated, test-fitted, photographed, and set aside until the time comes to secure it in place; in the meantime... the rigging winch is next on the list.
5/
Stove and Flue.
The kit includes metal parts for assembling the entire stove, and the quality is actually quite good.
However, I’ve put that task on hold for now, since I don’t plan to install the stove inside the first hull; instead, I want to place it as a separate element of the overall display next to the ship (alongside the cannons, anchors, boat, and perhaps a few other items).
As for the second hull, the stove isn't fully visible anyway, so I initially modeled only the chimney—though "modeled" might be a bit of an overstatement!
))))Then I 3D-printed it, fitted it to the frame, and coated it with copper.
I started by inking it using my usual method, but the smokestack—with its very smooth, straight walls—looked boring and lacked a worn appearance. So, I applied some weathering. Since the metal heated up and accumulated soot—which would have been scrubbed off—combined with the effects of saltwater and temperature, the part clearly needed to look heavily weathered.
Here is the technique I used: After two standard applications, the part had already turned a dark graphite color. Next, I diluted some pure BB [Burnishing Fluid] with water—mixing it 1:1 (or with slightly more BB)—and applied it with a brush. The top layer began to break down and flake off in places, so I dabbed the tip of the brush against the surface to create localized areas of deterioration. Then, I gently brushed away the loose flakes. I repeated this process until I was completely satisfied with the result. I don't recommend doing this with undiluted BB, as it can leave purple streaks and severely damage the surface; that’s why it needs to be diluted with water. However, this likely only works on a polished surface like the one I had; I haven't tried it on a rough surface. Experimentation is key here...
Against the backdrop of the clean deck, this might seem excessive right now, but don't forget that my goal is a museum-quality look—and that involves bitumen, the play of shadows, and dark tones. So, in the end, this detail will blend in perfectly.
I haven't glued anything together yet... each part is fabricated, test-fitted, photographed, and set aside until the time comes to secure it in place; in the meantime... the rigging winch is next on the list.
Die Oberfläche wirkt wieder einmal unglaublich realistisch. Die Farbgebung ist sehr detailliert. Genau so stellt man sich einen ausgebrannten Kamin vor. Wirklich hervorragend gemacht.Jedes gefertigtes Bauteil wirkt wie ein eigenständiges Modell. Ich bin begeistert.Kapitel 26. An Deck (Teil 4)
5/
Ofen und Rauchrohr.
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Das Set enthält Metallteile zum Zusammenbau des gesamten Ofens, und die Qualität ist wirklich recht gut.
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Allerdings habe ich diese Aufgabe vorerst auf Eis gelegt, da ich nicht vorhabe, den Ofen im Inneren des ersten Rumpfes einzubauen; stattdessen möchte ich ihn als separates Element der Gesamtdarstellung neben dem Schiff platzieren (zusammen mit den Kanonen, Ankern, dem Boot und vielleicht ein paar anderen Gegenständen).
Was den zweiten Rumpf angeht, ist der Ofen ohnehin nicht vollständig sichtbar, daher habe ich zunächst nur den Schornstein modelliert – wobei „modelliert“ vielleicht etwas übertrieben ist!
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Dann habe ich es im 3D-Druckverfahren hergestellt, in den Rahmen eingepasst und mit Kupfer beschichtet.
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Ich begann mit dem Tuschen nach meiner üblichen Methode, aber der Schornstein – mit seinen sehr glatten, geraden Wänden – wirkte langweilig und nicht abgenutzt. Deshalb fügte ich einige Alterungseffekte hinzu. Da sich das Metall erhitzt und Ruß angesammelt hatte – der normalerweise abgerieben worden wäre – und in Kombination mit den Auswirkungen von Salzwasser und Temperatur, musste das Teil eindeutig stark verwittert aussehen.
Hier ist die von mir verwendete Technik: Nach zwei Standardanwendungen hatte das Teil bereits eine dunkle Graphitfarbe angenommen. Anschließend verdünnte ich etwas reines Polierfluid (BB) mit Wasser – im Verhältnis 1:1 (oder mit etwas mehr BB) – und trug es mit einem Pinsel auf. Die oberste Schicht begann sich stellenweise abzulösen und abzublättern. Daher tupfte ich mit der Pinselspitze über die Oberfläche, um gezielt Abplatzungen zu erzeugen. Anschließend entfernte ich vorsichtig die losen Flocken. Diesen Vorgang wiederholte ich, bis ich mit dem Ergebnis vollkommen zufrieden war. Ich rate davon ab, dies mit unverdünntem BB zu tun, da es violette Streifen hinterlassen und die Oberfläche stark beschädigen kann; deshalb muss es mit Wasser verdünnt werden. Allerdings funktioniert diese Methode wahrscheinlich nur auf einer polierten Oberfläche wie meiner; auf einer rauen Oberfläche habe ich sie noch nicht ausprobiert. Hier ist Experimentieren gefragt…
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Vor dem Hintergrund der makellosen Terrasse mag das im Moment übertrieben wirken, aber vergessen Sie nicht, dass mein Ziel ein museales Erscheinungsbild ist – und dazu gehören Bitumen, das Spiel der Schatten und dunkle Farbtöne. Letztendlich wird sich dieses Detail also perfekt einfügen.
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Ich habe noch nichts zusammengeklebt... jedes Teil wird gefertigt, probeweise montiert, fotografiert und beiseitegelegt, bis es an der Zeit ist, es zu befestigen; in der Zwischenzeit... steht die Takelagewinde als nächstes auf der Liste.
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Veeeerrry nice!
The weathering is absolutely perfect ! I love it !!!
Chapter 26. On the Decks (Part 4)
6/
Windlass.
I had previously crafted the wooden parts for it, and I also showed how I made the metal elements.
As a reminder, all the parts were modeled in the 3D program Blender.
Then they were 3D-printed and copper-plated using an electroplating process.
After copper plating, they come out very smooth and shiny, so they require some processing and preparation before blackening. I also made the cylindrical parts out of dark pear wood so they would stand out from the main body (the top two parts in the photo below).
Then I drilled a few holes in the necessary places and...
... and assembled the mechanism, shortening the cylindrical component so that it—together with two metal ratchets—formed the exact length corresponding to the distance between the carlings on the deck.
There is no point in making the mechanism functional, so I’ll simply glue everything together; I’ll shorten the axles (iron nails) and attach handles to the sides.
The question of the locking mechanism remains. The anatomy diagrams contradict themselves yet again. The main contradiction concerns the direction of the cylinder's rotation: does it turn from the bow, over the top, toward the stern, or from the stern, over the top, toward the bow? This determines the placement of the locking pin—whether it should point aft or forward. The anatomy shown is simply absurd; one image shows one configuration, while the second shows another. And to top it off, one view shows *both*—which defies common sense! I’ll investigate this further, but I think the logic is straightforward: I should look to the forward anchor mechanism for an analogy, as that setup is perfectly clear. The movement went from the bow, over the top, toward the stern. I am virtually certain the aft mechanism operated the same way.
6/
Windlass.
I had previously crafted the wooden parts for it, and I also showed how I made the metal elements.
As a reminder, all the parts were modeled in the 3D program Blender.
Then they were 3D-printed and copper-plated using an electroplating process.
After copper plating, they come out very smooth and shiny, so they require some processing and preparation before blackening. I also made the cylindrical parts out of dark pear wood so they would stand out from the main body (the top two parts in the photo below).
Then I drilled a few holes in the necessary places and...
... and assembled the mechanism, shortening the cylindrical component so that it—together with two metal ratchets—formed the exact length corresponding to the distance between the carlings on the deck.
There is no point in making the mechanism functional, so I’ll simply glue everything together; I’ll shorten the axles (iron nails) and attach handles to the sides.
The question of the locking mechanism remains. The anatomy diagrams contradict themselves yet again. The main contradiction concerns the direction of the cylinder's rotation: does it turn from the bow, over the top, toward the stern, or from the stern, over the top, toward the bow? This determines the placement of the locking pin—whether it should point aft or forward. The anatomy shown is simply absurd; one image shows one configuration, while the second shows another. And to top it off, one view shows *both*—which defies common sense! I’ll investigate this further, but I think the logic is straightforward: I should look to the forward anchor mechanism for an analogy, as that setup is perfectly clear. The movement went from the bow, over the top, toward the stern. I am virtually certain the aft mechanism operated the same way.
Und wieder zeigt sich, dass gute Recherche unerläßlich ist.Sich nicht uneingeschränkt auf eine Bauanleitung verlassen oder Literatur als „gesetzt“ ansehen. Immer alles in Frage stellen. Der Baubericht ist wie eine „Arbeits-Bibel“. Klasse, was für ein schönes Niveau.
I would guess that they would have one going each way. One would ratchet one way and the other one would be used to ratchet the other way. Obviously, one would be lifted out of position to get the ratchet to go the way you want. Again, this is purely a guess on my part since it doesn't make sense to have both ratchet the same way. Why would you need that.
I agree with Jeff’s opinion. You will have to use the windlass in both directions. Then one of the two locks has to take out of the gear. By turning the other way, you change the position of the locks.
Regards, Peter
Regards, Peter
Veeeerrry nice!
Friends! Thank you so much for your comments and reactions. Your words continue to motivate me—thank you.
I have to disagree; while the idea seems logical at first glance, that is not how it actually worked. The way it was depicted was simply a mistake. The ratchets operated in tandem and were mirror images of each other. The locking mechanisms also worked in pairs, reinforcing one another from both sides. The operating principle was as follows: the rope was not permanently fixed to the cylinder but wrapped around it three or four times; while the end was being pulled, the crew would rotate the cylinder to wind the rope onto it. As winding progressed, the crew pulled the rope end away from the mechanism, and the system functioned thanks to friction. To halt the process, the mechanism was locked using stopper pins. Then, while the crew held the end, the friction generated by the four wraps around the cylinder reduced the effective load hundreds of times over, allowing even a single sailor to hold a colossal weight. To remove the rope from the mechanism, a second rope—firmly secured to the deck—was tied to the main rope above the cylinder; the main rope was then untied from the cylinder and secured to the bitts. To lower the load, the mechanism was locked so the cylinder would not rotate; the crew simply eased the tension, allowing the line to pay out gradually while the friction from the wraps around the cylinder controlled the descent. This friction made it possible to lower immense weights safely.
The only question is which way the cylinder was rotating, but judging by the tendency of the front anchor mechanism, the direction is the same.
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I see. Well, you would definitely know better than I would.
Chapter 26. On the Decks (Part 4)
7/
Windlass. (continuation)
Continuing on... I installed the locking mechanism and anchor pins to reinforce the hold. Then I blackened the copper, glued everything together, and finished it with Tung oil.
Once the oil dries, all that remains is to attach the handles and locking pins... and next time, I’ll show you how it all looks on the decks.
7/
Windlass. (continuation)
Continuing on... I installed the locking mechanism and anchor pins to reinforce the hold. Then I blackened the copper, glued everything together, and finished it with Tung oil.
Once the oil dries, all that remains is to attach the handles and locking pins... and next time, I’ll show you how it all looks on the decks.
Wieder eine absolute Klasse Optik. Wunderbar erklärt und dargestellt. Einfach klasse wie Du jeden Schritt ,nachvollziehbar beschreibst. Dein Baubericht ist sehr wertvoll für Jeden. Profi und für Anfänger / Einsteiger. Ich glaube besser, geht es nicht. Danke dafür. Dein Baubericht und die gezeigten Ergebnisse ( mit all den Bauschritte dazu ) motiviert sehr.
Chapter 26. On the Decks (Part 4)
8/
Windlass. (conclusion)
I glued the handles in place using five-minute epoxy, which is very convenient for setting the correct angle and position. I glued the retaining pins using Titebond II, injecting the adhesive into the hole with a syringe before inserting the pin and wiping away the excess. This method is convenient because it allows for clean application; since this component isn't load-bearing, this type of bond is sufficient, and it also makes future repairs easier. On the opposite side, I installed a 0.6 mm bolt.
I also installed bolts (made from 0.5 mm brass wire). Since the ship model's hull lacks deck planking—yet the knee rests against the deck—I positioned the bolts so they remain visible; they are exposed not only due to the absence of planks but also, on one side, because there are no cross-members between the carlings.
And here’s the result... I finally managed to set up good lighting, and the photos turned out pretty well.
In the top photo, you can clearly see the handles gleaming right where I simulated exposed metal—the result of constant friction from the hands turning.
That wraps things up for these components; next up is the anchor mechanism... and that’s where things get more interesting—and far more complex.
8/
Windlass. (conclusion)
I glued the handles in place using five-minute epoxy, which is very convenient for setting the correct angle and position. I glued the retaining pins using Titebond II, injecting the adhesive into the hole with a syringe before inserting the pin and wiping away the excess. This method is convenient because it allows for clean application; since this component isn't load-bearing, this type of bond is sufficient, and it also makes future repairs easier. On the opposite side, I installed a 0.6 mm bolt.
I also installed bolts (made from 0.5 mm brass wire). Since the ship model's hull lacks deck planking—yet the knee rests against the deck—I positioned the bolts so they remain visible; they are exposed not only due to the absence of planks but also, on one side, because there are no cross-members between the carlings.
And here’s the result... I finally managed to set up good lighting, and the photos turned out pretty well.
In the top photo, you can clearly see the handles gleaming right where I simulated exposed metal—the result of constant friction from the hands turning.
That wraps things up for these components; next up is the anchor mechanism... and that’s where things get more interesting—and far more complex.
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