- Feb 2, 2020
That would be awesome - thanks, Nigel!
What are you using to make this stuff? I mean do you have any 3D machine or just some plastic sheets? I built this ship as it was in kit, but I can not stop to admire your work. You are building completely new model out of that kit. It is truly amazing. I'm putting my invisible hat down in front of you. Again the experience and knoladge is out of my reach and I can only sit and admire.Designing of these reverse-curve pedestals and the paneling, in-between, has been giving me fits. As a reminder of Berain’s layout:
This is a challenging thing to approximate onto the Heller architecture. My first break in drawing came after much erasing and re-drawing, and I still wasn’t happy with the result:
I liked the in-board pedestal shape, but I didn’t like the relationship of rake, relative to the outboard pedestal. I also wasn’t quite sure that the circle was the right diameter.
After allowing it to sit for a few days, I came to a realization about Berain’s drawing. Although he does indicate balcony overhangs with shadowing, the drawing is, otherwise, presented as thoroughly one-dimensional, without any foreshortening of perspective for the rake of the stern.
In other words, in order to arrive at a closer impression of what he drew, one must design with the more likely vantage point in mind; as though you were looking at it straight-on, but from a level plane or above.
After much re-drawing, here is how the shapes change when viewed from below:
And then, above:
Now, the layout looked right to me, or at least as close to right as the Heller architecture will allow.
Once I was sure that I liked my shapes, I double stuck a scrap of vellum to just beneath the crease of the stern counter. I, then used my finger nail to sharpen that crease into the vellum.
Then, very carefully, I mapped the reverse curves and paneling onto the vellum with a series of dots that were close enough to accurately fair them, once the paper was removed.
After glue-sticking the paper to a scrap of oaktag, I faired and darkened all of my lines, and finally cut out the three main elements with a sharp matte-knife:
It may appear that the top reveal above the panel is too large, however, there will be a small cove moulding beneath the overhang of the top transitional moulding, and this will balance out the weight of the reveals. As for the bottom reveal, the aforementioned foreshortening of perspective takes care of that issue.
Next, I could use the inner pedestal patterns to demarcate the central raised panel, for planking. I also traced the outer pedestal profiles, though, to be sure that I liked the layout. I made one last check with old man winter (the widest of the four seasons figures) to make sure that I was happy with this:
As a side note - the transitional top moulding will run between the Four Seasons figures and the pedestal bases. Both Berain and Tanneron present this as a seamless transition. I, however, do not have enough space to make wider pedestals AND present the more elaborated lambrequin carving. Allowing the top moulding to run between them will nullify their difference in width, as the figures will be fully supported by the moulding. Or, so I think... As I often say, this build is a reconciliation of sources and acompromise in execution.
Finally, I got to planking the next layer. This time, I created a neat radius around the head and crown. I won’t bevel that radius, though, until the final framing layer of moulding, between the inner pedestals, is applied. I nipped the outboard profile of this second planking just a little past my lines; that way I can trim everything flush with the pedestal appliqués, after they are applied.
One of the trickier things to keep in mind is that the bottom course, of this second layer, has to be beveled so that it does not interfere with the bottom moulding that helps frame the stern counter, and which I will make, once all the layers and pedestals are in place. The reason for that sequencing is that the top and bottom transitional mouldings have to overhang everything in-between, and I don’t want to guess where all of that may end up. The port side course was beveled flush, after being set in place. The starboard course has only been pre-beveled, so far.
One last consideration is that the counter profile actually extends beyond the tumblehome profile of the stern:
I’m not 100% sure how I will resolve this, just yet, but my inclination is to leave an overhang on the outboard paneling layer (with the circle, and to which the outboard pedestals are mounted, and allow the counter level of the quarter gallery to butt up behind it. This will create the small step that seems to be implied in Berain’s drawing.
So, that’s where things stand, so far. I hope all is well with you all, and thank you for looking in.