Looking better and better all the time
Kyrenia Ship, 290 BCE Reconstruction POF Build Log PT-2 [COMPLETED BUILD]
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Did you mean these two? (circled). Without knowing much about the history or original colour or texture of these amphora, I find the stained one immediately visually appealing, even though as you mentioned earlier they may appear darker when stowed in the hold. But certainly the stained one would be my preference
PT-2
How about sharing some of those nice old tunes.
Post a small sound clip and let us also enjoy the traditional Swedish songs.
I am using the dark stain set as well as newer ones with a Pecan stain which has a golden tone, slightly darker than bare wood. The painted test was not at all what I wanted. Right now I am tying them together and placing some dessicated moss as dunnage in the hold to bed them. Maybe some photos later.
The only Swedish piece that I could send is a long Folkstyle Mass called Ljus och Hopp (Light and Hope) which would not be in any manner similar to the Irish vocals and instrumentals that I am playing almost constantly.\
Here is a link to the one that I am listening to now:
Two part reply to the prior request for what I listen to with Irish music, departing from the vocals to instrumentals:
Being this dry it is very fragile and breaks apart easily so I cut it into strips to be placed behind and in front of each row of tied amphorae:
My LED lighting makes the very light colored wood stain appear as white.
Next is a closer view of those vessels and the ties around the necks with the ends tied to the side rails.
I will need to turn and stain two more amphorae to complete the last front load. Then I will make some faux stone mortars for grinding grain which were also used as ballast in the actual ship. I was thinkng about using some sheet lead to provide some weight and actual ballast to the model as it is not glued into the kit support and will not be while I will be in the process of having to move the hull around quite a bit in the masting and rigging phase.
Ahead of that here is the most complete photo that I have found which clearly shows the braces and brailing lines which on the front side of the sail are led forward to set the sail for windward tracks.
I will not be including that stern pose decorative element which may function as a "wind tell" which if were properly needed would be on the top of the mast for the helmsman and crew to see for proper sail trimming.
Rich
Looking very good Rich, nice details! 
Having the amphorae safely nestled with dunnage I now need to address the economic reason for seafaring in the Bronze Ages which included: political, naval/military, economic as each was an expensive venture that had to paid for, if not in construction then in sailing costs and risks of loss to the merchants. On that tack I will add an economic factor relevant to Cyprus but not an actual recovery fine: Copper Oxehide ingots. Messis has told me that Cpyrus means copper and that was the major source of the ore or cast ingots for fabrication into tools, weapons, or necessities such as pots. He has said that there are still the stone casting impressions for those that can be found in the present day but the mines used were long ago worked out and lost.
Using an old commemorative stamp providing a link with the copper ingots I will show my use of 1/16 inch lead sheet and my word carving tools to make them:
Next is a closer view of the stamp and a cut ingot:
The first ones are more for practice and will be covered with later more carefully shaped ones. Next is the magic of paint brush metalu
rgy converting lead to copper:Now after some sorting the ingot loading begins along side a center row of also lead faux stone mortars over the keel which provides a bottom rest for those stacks:
Now more of a top view down:
I see that there are a lot more to cut, file to shape, copper coat, and load aboard to have a proper estimated
water trim of the ship. I well understimated the number based upon seeing the density of the loaded stacks. Oh well, I needed the practice and better profile anyway. Sail will have to wait its turn in the sail shop. Rich
Strange how the lighting turns a dark yellow for the centerline mortars from the dark yellow to light green although green paint is composed with yellow and blue.
Hi Rich. Why haven't I visited this build of yours before......??
What a nice ship and what a beautiful construction with nice details.And now with making the cargo you can revive the ship completely. Well done!
Regards, Peter
With regard to the color shift: May I give a little lesson in color theory?
But perhaps I have to post is somewhere else on the SoS?
Here's a picture for clarity the rest of the text:
Your screen works with 'light' and therefore with the Primary colors Red / Green / Blue (RGB) that are mixed 'Additive' (merging):
-all colors together give white (just like the rainbow);
-based on merged:
Red+Blue=Magenta; (White-Red-Blue=Green);
Red+Green=Yellow; (White-Red-Green=Blue);
Green+Blue=Cyan; (White-Green-Blue=Red).
Your paint works with 'materials' and therefore with the Secondary colors Cyan / Magenta / Yellow (CMYK) that are mixed 'Subtractive' (exclusively): :
-all colors together do not give black but an unstable brown color. Hence the K, which stands for Key and is black. To also show black when printing / dyeing;
-remember always: your screen shows the painted Secondary colors always with the Primaire colors!!
-based on exclusively:
White-Magenta-Yellow=Red; (On your screen with RGB: Magenta+Yellow=Red);
White-Cyan-Yellow=Green; (On your screen with RGB: Cyan+Yellow=Green);
White-Cyan-Magenta=Blue. (On your screen with RGB: Cyan+Magenta=Blue).
All in all, this can be quite confusing.
A little help in combination with the color circle from above:
The 1st letter of RGB is complementary to the 1st letter of CMYK: Red <-> Cyan;
The 2nd letter of RGB is complementary to the 2nd letter of CMYK: Green <-> Magenta;
The 3rd letter of RGB is complementary to the 3rd letter of CMYK: Blue <-> Yellow
That is why a painted color can shift in a photo.
Whereby the WitBalance setting of your camera can have an extra disturbing effect. Because the WB of your camera works again with the 'Color temperature' of the light you use when shooting. Warm and Cold colors. And that's another chapter of its own.
To links:
Color theory - Wikipedia
Not to make things more complex, in Art they also use the RYB-color model:
RYB color model - Wikipedia
Then we are again by your text: 'although green paint is composed with yellow and blue'. But your screen does not know that.
And 'from the dark yellow to light green' : Look to the color circle, they are close to each other, but in RBG against CMYK
Regards, Peter
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Loads of information for my aging brain to absorb and sort out for recollection. Thank you for your time in sending this. RIchWith regard to the color shift: May I give a little lesson in color theory?
But perhaps I have to post is somewhere else on the SoS?
Here's a picture for clarity the rest of the text:
View attachment 269832
Your screen works with 'light' and therefore with the Primary colors Red / Green / Blue (RGB) that are mixed 'Additive' (merging):
-all colors together give white (just like the rainbow);
-based on merged:
Red+Blue=Magenta; (White-Red-Blue=Green);
Red+Green=Yellow; (White-Red-Green=Blue);
Green+Blue=Cyan; (White-Green-Blue=Red).
Your paint works with 'materials' and therefore with the Secondary colors Cyan / Magenta / Yellow (CMYK) that are mixed 'Subtractive' (exclusively): :
-all colors together do not give black but an unstable brown color. Hence the K, which stands for Key and is black. To also show black when printing / dyeing;
-remember always: your screen shows the painted Secondary colors always with the Primaire colors!!
-based on exclusively:
White-Magenta-Yellow=Red; (On your screen with RGB: Magenta+Yellow=Red);
White-Cyan-Yellow=Green; (On your screen with RGB: Cyan+Yellow=Green);
White-Cyan-Magenta=Blue. (On your screen with RGB: Cyan+Magenta=Blue).
All in all, this can be quite confusing.
A little help in combination with the color circle from above:
The 1st letter of RGB is complementary to the 1st letter of CMYK: Red <-> Cyan;
The 2nd letter of RGB is complementary to the 2nd letter of CMYK: Green <-> Magenta;
The 3rd letter of RGB is complementary to the 3rd letter of CMYK: Blue <-> Yellow
That is why a painted color can shift in a photo.
Whereby the WitBalance setting of your camera can have an extra disturbing effect. Because the WB of your camera works again with the 'Color temperature' of the light you use when shooting. Warm and Cold colors. And that's another chapter of its own.
To links:
Color theory - Wikipedia
en.wikipedia.org
Not to make things more complex, in Art they also use the RYB-color model:
Primairy Red / Yellow / Blue to come to Secundaire Orange / Green / Purple.RYB color model - Wikipedia
Then we are again by your text: 'although green paint is composed with yellow and blue'. But your screen does not know that.
And 'from the dark yellow to light green' : Look to the color circle, they are close to each other, but in RBG against CMYK
Regards, Peter
In conclusion, your pictures will never display the exact color you see in person. Every time I take a picture of the deck on my ship, it looks like a different color...lol. In person it looks great, sometimes in photos, not so much. It can be frustrating trying to get an image that truly represents what you have. I sometimes experiment with lighting and angles to try to get a better representation of what I have. But I am just using my camera phone and can only do so much.
Sorry, Rich, to spoil your build-log. I should have post it in the ‘Photography Thread’.
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No spoilage in the log at as it is directly related to my photos and visual coloration differences. Good information for all coming aboard. Rich
Made a second set of lead ingots using the stamp image for the profile which is not as pointed as other findings such as a stone ingot mold and then a cast ingot with the texture:
Now to my own set where I used two highly textured metal files to pound a bit of texture into the lead before painting.
for comparison with the left-overs
Bottom are better but who knows who will ever see the faux ingots outside of this log?
Rich
P.S. I forgot to mention that this type of ingot weighed between 20 and 30 kilograms which converts to 44 to 66 pounds which are reasonable for a single man carry ,. . . . over and over using the corners as hand holds, particularly if the corners are longer and more horn, or leg like. Those seem to depend upon where they were cast and whose recovery work found the various ones whether, lead, copper, or zinc, all found but with variable weight depending upon the metal. I have red where some raw minerals were also transported to other ports for smelting there. Rich (PT-2)
Yes, no escaping the truth we live with. RichThe bottom ones are much better Rich. And as to who will know the difference ... YOU will!
Agree with Heinrich on both: the better ones and the knowing.The bottom ones are much better Rich. And as to who will know the difference ... YOU will!
Regards, Peter