AgreedI think so.
AgreedI think so.
Thanks Bill! The last posts progress took me two days. It goes slowly.Hello Kurt,
You are doing beautiful work.
Bill
To much paint maybe.if that means anything.
Well, there you go! Thanks Vic!!!!I don’t see any treenails on the closeup of the painted Victory, if that means anything. View attachment 339466
Indeed, it does Kurt. Looking at your very fine detail description of the process, I will bookmark this portion of your build and will defiantly incorporate it in my next build.The overall effect still looks nice.
I haven't gone in to any detail in to how the location of drop planks are decided upon, or how important it is to do the planks in pairs, port and starboard, and take occasional measurements of the edge of the creeping plank layer from the keel or bottom wale, in order to preserve symmetry. A model looks better with symmetrical drop plank and stealer locations, but in reality for ships of this early time, I believe the availability of timbers of the required shape was the predominant factor in deciding where the plank seams actually go. If you look at the decks of the Wasa, you can see that what we think should be even and symmetrical deck planking lines is far from what they actually did. Planks went where they fit, and that's that. Precise symmetry was the sort of workmanship which developed later until it became almost an art form. Of course, some ships are built with more precision and care than others, and each ship of this time was completely unique. Small variations in symmetry on my hull are due to my lack of precision, not from intent on historical accuracy with regard to planking style. In other words, I'm building the model with SOME historical information and the rest is educated guesswork, with some completely wild guesses thrown in if there are no other options. Every bit of information on this ship is gathered, considered, and chosen among choices. It's not up to the skill level of those builders making POF models carefully milled out of pearwood, but it's a far cry from the simple kit build I originally planned due to the enormous amount I've learned from many sources, and that includes you guys.Indeed, it does Kurt. Looking at your very fine detail description of the process, I will bookmark this portion of your build and will defiantly incorporate it in my next build.
I was looking at your post #1448, the ninth picture down (being worth a thousand words) actually speaks volumes to me as far as method and proceedure.I haven't gone in to any detail in to how the location of drop planks are decided upon
Anytime. Glad you got something helpful out of it!I was looking at your post #1448, the ninth picture down (being worth a thousand words) actually speaks volumes to me as far as method and proceedure.
I have seen the example of that method a few times in photos but did not understand how to choose the location for those lost strakes until I studied your post.
A big thank you for that post.
Yeah. Part of that comes from the use of narrow, 4mm wide planks. When you use 5mm planks, the amount of drop planks is less.Seems like a lot of drop planks.
Makes sense.Yeah. Part of that comes from the use of narrow, 4mm wide planks. When you use 5mm planks, the amount of drop planks is less.
The bike I'm on is the Kawasaki F21M 238cc 2-stroke motocross bike. The bike Buck Buchanon (#96) is a Honda CL72 Scrambler 4-stroke. Much heavier. My Kawasaki melted a hole in the piston as they had it jetted way too lean. I was sponsored by Kawasaki....There are 150kg difference - and I am not talking about the biker ......
OUCH. That poor engine.The bike I'm on is the Kawasaki F21M 238cc 2-stroke motocross bike. The bike Buck Buchanon (#96) is a Honda CL72 Scrambler 4-stroke. Much heavier. My Kawasaki melted a hole in the piston as they had it jetted wsy too lean. I was sponsored by Kawasaki....
Yes, the sharp taper at the bow is a challenge. Your planking arced into the keel long before reaching the stem, and the line of your planks differ largely from mine as a result. Mine ran along the keel and part way up the stem before terminating, which really created a tight pinch point for the plank ends below the bottom wale. The buttocks will turn out better.Good work Kurt.Sovereign's bow is quite an unusual shape that I would describe as " semi bluff ".Not an easy form to plank
Kind Regards
Nigel
Hallo Kurt alias @DARIVS ARCHITECTVSHMS Sovereign of the Seas - Bashing DeAgostini Beyond Believable Boundaries - by DARIVS ARCHITECTVS
Well, I just finished La Couronne and its display case a few hours ago, and swore that I would take a break before starting another project.
That didn't happen. On to Ship #2.
Research on building HMS Sovereign of the Seas started almost immediately. I opened Issues 1-15 of the kit and started pouring through their contents, eager to work on the one ship which is the greatest inspiration above all others. The first problem reared its ugly head immediately. The false keel assembly does not include the keel itself, ending at the garboard strake of planking. I could not use my multi-position keel vice that served my so well while building La Couronne! That meant that the base jig in the DeAgostini instructions has to be built and used. The keel is attached later in assembly, and I'm afraid that it won't be strong enough to use the keel vice, and one accidental bump on the hull will break the keel off, leaving the wrecked hull rolling on the floor. I guess I'll have to be careful.
Some more observations. This model has a complete lower gun deck, unlike Corel's La Couronne, so it will be easy to replace the false half-barrel cannons with complete carriages. (Don't look at me like that, Dockattner... You may take ALL the shortcuts you want! Not THIS sailor.) Because the kit instructions are scattered across 135 packages in magazines, the steps for assembling multiple similar items like cannons are also scattered, and there are no blueprints or rigging drawings to refer to that give you the complete picture of how elements like lines, decorations and other landmarks used in measuring are positioned, relative to each other and the hull overall. This is quite different than working from the two general arrangement drawings and seven rigging drawings that helps you classify and keep track of what you are working on, and where something goes.
Just to get something done, the first frame pieces of the bow were glued together, and some wood metal "L" brackets for making the base jig were purchased. There is still one more piece of wood to purchase before the base jig can be completed and the false keel assembled. Since I wanted to use those GORGEOUS Amati cast decorations on this model, the problem remains whether or not they would fit because the scales between the Amati and DeAgostini models are slightly different. Laying the false keel bulkheads on the Amati plans shows that they may actually be close enough to allow use of most of the Amati decorations. Each decoration, Amati or DeAgostini, will have to be chose based on how close to the Payne description of the decorations they are. Perhaps in some cases neither will work, and scratch built decorations will have to be made, which I do not have the patience, tools or talent to do. Carving is a slow, high risk task for me. Too much can go wrong. After all, I'm an engineer (Architectus in Latin), not an artist.
Many things will be replaced in this white metal casting, plywood ridden, arguably accurate DeAgostini kit. LET THE BASHING BEGIN.
It looks like somebody broke the sprit topmast, or it that just he camera lens effect?
This is NOT what the kit build would look like. This is the scratch built Italian made model that the simplified kit approximates, and falls short of