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Ship Modeling FAQ, Part 01/25 (Contents, where is FAQ: 20K)

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John O. Kopf

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Sep 22, 2001, 7:10:39 AM9/22/01

Archive-name: ship-models-faq/part01
Rec-models-scale-archive-name: Ship_Modeling_FAQ/part01
Posting-Frequency: quarterly
Expires: Fri, December 28, 2001 00:00:00 GMT
Last-modified: 27 August 2001

This is the Frequently Asked Questions FAQ (part 01) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this FAQ was
contributed by individuals, who, unless otherwise indicated, speak
only for themselves and not the institutions or businesses they are
associated with. The author(s) and editor(s) of this material make no
warranties as to the correctness of the information provided.

This material should be considered copyright by the author(s). This
material may be redistributed for non-commercial use without explicit
permission of the author(s) as long as the text is used exactly as is
(except for reformatting) and the author(s) is given full written credit
for the material. Commercial use requires explicit permission of the
author(s).

The set of FAQs is, quite frankly, oriented toward access using a
"World Wide Web Browser" (e.g., Netscape, Mosaic, Internet Explorer,
etc.); reading it with such a tool you'll find "links" to other sites
of interest.

{ A note about the addresses presented. When I show:
http://www.seaways.com/faq/faqind.html
...that is interpreted as:
http:// www.seaways.com /faq/faqind.html
^^^^ ^^^^^^^^^^^^^^^ ^^^^^^^^^^^^^^^^
| | |_ the path to the file
| |__ the Internet address
|___ the method - in this case, HTTP
....these are shown in this way so that people viewing this FAQ
using a World Wide Web browser -such as Netscape- can simply
click on these addresses to go there.

NOTE: I record these addresses, but don't necessarily visit them on a
regular basis. Thus, I may not know if they "disappear". If
you try to access one and it appears to be no longer available,
please send me Email at: mailto:ko...@worldnet.att.net ; I'll
check it out and delete the reference if it's really gone. Thanks.
}

Disclaimer: My personal experience is with traditional, static wooden
ship models. Thus the answers below lean toward that aspect. PLEASE
feel free to provide me with information on other aspects (e.g.,
plastic ship models, etc.).

NOTE: New material each posting is flagged with the string "*NEW*".

CONTENTS
========

(FAQ Part 01):
Table of Contents
0. Where is the FAQ?
Contributers

(FAQ Part 02):

PREPARATION
1. I don't have the patience to build a ship model (?)
2. Where do I get started in making RC model boats?
3. What is a good beginner's model kit to start with?
4. What's the difference between "bread-and-butter", plank-on-
bulkhead, and plank-on-frame construction?

(FAQ Part 03):
5. What's the difference between Beginner, intermediate, or
advanced Kits?
6. What experience have other modelers had with the European kits?
7. How do I work with resin kits?
8. I hear reports of problems with some of the "resin" kits?
9. What tools do I need to get started?

(FAQ Part 04):
10. What power tools do I need?
11. What scale should I use?
12. How does one change the scale of plans?
13. When should I use "English" or "Metric" measurements?

(FAQ Part 05):
14. What woods are recommended?
15. I have a chance to harvest my own wood; how do I do it?
16. What is the right glue to use?
17. Is CA glue reliable?
18. Need Help with (plastic) Submarine Model Building

(FAQ Part 06):

THE HULL
19. How do I scratch-build a modern hull?
20. What are diagonals used for?
21. How do I bend wood for a ship model?
22. How do I use paper templates to check the hull shape?
23. How do I cutting the bevel(s) on a bulkhead/frame of a model?
24. What is accurizing?
25. How do I Clean up Ship Decks?

(FAQ Part 07):
26. How do I carve a solid (or bread and butter) hull?
27. How do I make wooden planking appear realistic?

(FAQ Part 08):
28. How do you drill the mast holes in a solid-hull ship model?

DETAILS
29. I'm looking for a source of sheet copper for plating a model?
30. How is the copper applied?
31. How do I make small, inexpensive cast plastic fittings?

(FAQ Part 09):
32. Where can I locate some chrome fittings for a ChrisCraft boat?
33. Has anybody got a recipe for chemical blackener? (To blacken
brass and other metals)
34. Does anyone have any experience and/or tips on how to use slide
cover glass to make windows?
35. How does one work with "real" scale rivets?

(FAQ Part 10):
36. How do I make a "diorama"?
37. How big should cannon be (compared to what's available)?
38. What are the proper colors for British Ensigns? Were the
Ensigns of British ships really as big as they appear in kits?
39. What is "lead sickness"?

(FAQ Part 11):
PAINTING
40. Should models be painted or left natural wood?
41. What colors are appropriate for 16th-17th century ships?
42. I painted the (Cutty Sark) hull and found that the Testors
paint is difficult to use and not see brushmarks. Any advice?
43. What are the correct <brand> colors for <specific ship>?
44. Am modeling a Fletcher and need up to date colors etc.?
45. What colors to use on the Revell(?) PT-109?

(FAQ Part 12):
46. What are the correct USN (and other WW II) Camouflage Measures?
47. How do you paint and mask camouflage detail?
48. How do I translate Tamiya color numbers to Model Master #?
Floquil?
49. How do I make a realistic calm sea for a scene?
50. How do I use "decal sheet" to apply markings to a model?
51. Where can I get 1/72 scale coast guard decals?

(FAQ Part 13):
RIGGING
52. What can be used for fine rigging line?
53. How do I make scale rope?
54. How does one assemble rigging?
55. What is the best material to rig small-scale Resin models?
56. How do I install ratlines?
57. Do ratlines extend beyond the futtock shrouds to the lubbers
hole? Is the futtock shroud tied directly to the main shroud?

(FAQ Part 14):
58. Why do I have more lines than points to belay them to?
59. How can rigging line be made to hang naturally?
60. How do I eliminate the fuzz on model rigging?
61. How do I build small blocks for model sailing ships?
62. What do I use for sails?
63. What is the best material for sails?

(FAQ Part 15):
OTHER STUFF...
64. What is meant by "Museum Quality" ship models?
65. How do I clean a model?
66. Where can I find plans for the Frigate (HMS) Rose?
67. How do I get a ship model appraised (for insurance purposes)?
68. I'm looking for info or suggestions on model subs?
69. Why do {your choice} cost so much?
70. How big should a case be?
71. How do I plank a hull?
72. How does one "joggle" at the margin plank?

(FAQ Part 16):
73. How do I get "scale color" to work?
74. How do I get decals to "disappear"?
75. How do I rig carronades?

(FAQ Part 17):
76. What is the best way to do carvings for ship models?
77. My model calls for clue blocks and sheet blocks, but they’re not
included - how do I make them?
78. Can anyone explain how to read a table of offsets?
79. "How do you get it into the bottle"?
80. How does "Copyright" apply to my work? To old pictures and
drawings?
81. What are all of the lines on my drawing of a ship?
82. cutting wood planks?

(FAQ Part 18):
100. Are there any ship modeling clubs?

(FAQ Part 19, 20, & 21):
(FAQ Part 19):
101. Where can I find... ?
101-A. RECOMMENDED BEGINNER KITS
101-B: KITS, FITTINGS, ETC.
(FAQ Part 20):
101-C. TOOLS
(FAQ Part 21):
101-D. LUMBER & OTHER MATERIALS
101-E. MISCELLANEOUS
101-F. SHIP MODEL and MARITIME DEALERS, APPRAISERS, BUILDERS,
CONSERVERS

(FAQ Parts 22 & 23):
(FAQ Part 22):
102. Where can I find information... ?
102-A: BOOK COMPANIES
102-B. MAGAZINES & PUBLICATIONS
(FAQ Part 23):
102-C. PLANS
102-D. SOURCES FOR PHOTOGRAPHS
102-E. GENERAL
102-F. INSTITUTIONS
Ship Plans
Records
Photos and Prints
Historical Data
Interlibrary Loan
Individual Ships/Ship Types
Outside of USA

(FAQ Part 24):
103. What are some good books... ?

(FAQ Part 25):
104. What's available on the Internet?
LIST SERVERS
USENET NEWS GROUPS
FAQs
FTP access
GOPHER access
105. What's available on the WWW?
SPECIAL!!!
General
FAQs On-line
Lists of Links to Other Sites
Model Boating & Clubs
Ship Model Dealers and Suppliers
Books and Book Shops
Miscellaneous
Sailing Ships
"Steam" Ships
Maritime Museums and Research Projects (including Nautical Archaeology)
Research Ships
Government / Military

(The latter six questions have disjoint numbering so I won't have to
renumber frequently.)

###############################################

0. Where is the FAQ?
A: The FAQ is posted at the beginning of every Season. It goes to:
news:rec.models.scale.
The FAQs also go to
news:news.answers and news:rec.answers ,which most sites tend to keep around for a while.

The HTML (WWW) version is archived at:
http://www.seaways.com/faq/faqind.html
A text version can be found at:
http://www.faqs.org/faqs/ship-models-faq/

Access via FTP:
ftp://ftp.uu.net/usenet/news.answers/ship-models-faq (.ZIP files)
-or at-:
ftp://mirrors.aol.com/pub/rtfm/usenet/rec.models.scale/Ship_Modeling_FAQ/
-or at-:
ftp://rtfm.mit.edu/pub/usenet/rec.models.scale/Ship_Modeling_FAQ/

An alternative FTP site (in Europe) is:
ftp://ftp.uni-paderborn.de/pub/FAQ/rec/models/scale/Ship_Modeling_FAQ/

-- or via WWW at:
http://www.cs.uu.nl/wais/html/na-dir/ship-models-faq/.html
http://www.pasteur.fr/other/computer/FAQ/ship-models-faq/ghindex.html
(Allows "Glimpse" searching)

E-MAIL:
------
If you do not have http or anonymous ftp access, RTFM.MIT.EDU can send
the FAQ to you via email. Send e-mail to:
mailto:MAIL-...@RTFM.MIT.EDU
...subject ignored, and the body containing:
HELP
...for instructions.

CONTRIBUTERS
============

The following people have contributed to this FAQ:
(NOTE: with the increase in Email "spaming" directed at people
listed in places like this FAQ, the following Email
addresses have been "Munge"-bombed against those who
"harvest these addresses - to use the addresses below,
remove the text ",n...@ftp.warez.org" before sending,
or you may get a "nastygram" from your ISP!

George Wallace
David Waples mailto:david...@msn.com,n...@ftp.warez.org
Dean Warden mailto:sir...@norfolk.infi.net,n...@ftp.warez.org
Jon Warneke (REDBOZO6) mailto:mont...@usit.net,n...@ftp.warez.org
Aaron J Warren mailto:AWa...@Wabtec.com,n...@ftp.warez.org
Kim P. Weaver mailto:kwe...@netcom.ca,n...@ftp.warez.org
David R. Wells
Mark S. Wheeler mailto:ma...@waterw.com,n...@ftp.warez.org
John Witt mailto:jw...@ultrabac.com,n...@ftp.warez.org
Michael A. Wolf mailto:da_w...@digital.net,n...@ftp.warez.org
Dave Wilke mailto:dave...@netcom.com,n...@ftp.warez.org
Paul Wilson
Kurt Van Dahm mailto:kurt...@starnetinc.com,n...@ftp.warez.org
Woody Vondracek mailto:cor...@nando.net,n...@ftp.warez.org
??? mailto:cali...@crl.com,n...@ftp.warez.org

John O. Kopf

unread,

Sep 22, 2001, 7:10:40 AM9/22/01

Archive-name: ship-models-faq/part02
Rec-models-scale-archive-name: Ship_Modeling_FAQ/part02

Posting-Frequency: quarterly
Expires: Fri, December 28, 2001 00:00:00 GMT

Last-modified: 22 June 2001

This is the Frequently Asked Questions FAQ (part 02) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

contributed by individuals, who, unless otherwise indicated, speak
only for themselves and not the institutions or businesses they are
associated with. The author(s) and editor(s) of this material make no
warranties as to the correctness of the information provided.

The questions being addressed are listed in part 01 of the FAQ.

###############################################

PREPARATION
===========

1. I don't have the patience to build a ship model (?)

A: First of all, "Patience is that attribute required to do
something you DON'T WANT TO DO!"...if you don't want to build
a model, no one will (or CAN) force you to.
However, there are a number of thing you can do to make it more
likely that your patience will be sustained for the duration of
the project:
o Have some idea what you're doing. READ THE INSTRUCTIONS (if
it's a kit). If you don't understand (and many instructions
are "opaque"), ASK someone (see the list of ship Modeling
Clubs, or ask here)!
o If you've never built a (ship) model before, start with a
SIMPLE one (see 3., below). That will help insure that
you'll finish in a reasonable amount of time, and will help
you understand the terminology (i.e., what you call the
"pointy end of the boat", and all those "sticks" and
"string").
o Build yourself a "kit". Most people start with the hull,
which is typically ~10% of the work/time required, and ~90%
of the visual effect (more than once, I've been asked by a
visitor if I've done anything to a model since they've last
seen it (6 months earlier), because I've spent the 6 months
adding details that you have to LOOK for). Instead, BUILD
SUB-ASSEMBLIES FIRST (e.g., the anchor, ship's boats,
cannon/carriages, etc.) -- these can be added to a row of
parts marching across the "mantelpiece"; every time you
look at them you see you're making progress. When you're
done, THEN assemble them into the model.
o Contact other modelers (even if not ship modelers). Even if
they are not doing the same thing you are, being able to ask
a person questions, and explaining your "tricks" is a
stimulus to get your interest up again. (John Kopf)
***There is one trap in this that a beginner has to be aware of.
That is, you learn as you go and as a consequence, in a ship
model with a lot of sub assemblies, the quality of your work is
likely to be vastly improved in the last assembly you build
over what it was for the first. Here's a few things you might
want to consider in the vein of sub assembly building that I
wish I had considered before I started the "Ship that will never
be finished" that I keep on a shelf in my studio as a reminder.
Pick the simplest sub assemblies to work on first. When you
get to the last sub assembly, you may decide to go back and
re-do the first few to get them up to the new standards you will
set for yourself as you learn. Real bummer if the first few
were the most complicated and longest to build.
In keeping with the above, consider doing the hull after you
have built most of the deck furniture, despite the encouragement
most model plans/instructions give you to start with the hull.
A sense of scale is probably one of the hardest skills to learn
in this hobby. If you do the deck furniture first, and arrange
it on the plans, you can probably pick out the ones that are off
scale before you go too far. If you make a thin cardboard
template of the bulwarks from waterway to rail and try and fit
it around the arrangement of deck furniture you get a sense of
what the line of the deck framing needs to be to get the furniture
at the right height relative to the bulwarks. You can't always
trust the plans to give you a matching set of deck furniture and
deck line or hull.
Also, the hull, at least planked ones, are among the most
difficult sub-assemblies to build. If you blow this one, you
might find you have to rip her down to the keel in order to
correct it. And that could be a large amount of work down the
drain.
Decide pretty early how much detail you intend for your model.
To start out at low detail and then add more as you improve in
skill doesn't work. The finished model ends up looking like it
was built by a bunch of subcontractors who didn't talk to one
another. A moderately detailed model looks a whole lot better
than one that varies from low detail to high as you change your
view from one perspective to another.
I think its better to start with a simple model rather than
plan on getting all of the simple elements of a complex ship
working together. In the first few years of this hobby you'll
see you skill level going up substantially in steps that are
pretty close together. If you work a few models that gradually
increase their demands on your skill, you'll probably end up
with a set of acceptable models, each perhaps better than the
one before, but each able to stand on its own. If you jump
right into a major project, you may end up with an end result
that just doesn't stand up on its own. (Jack Silva)
***At the risk of being jumped on by people who have no idea what
the heck I am all about, here goes.
I got started with the Dallas, I was proud of it, but what a
mess. The Curator of models at the San Diego Maritime Museum
(Bob Crawford) encouraged me to move into scratch building
immediately with Petrius' (sp Irene, not knowing the frames
were not drawn out in the plans.
We canned that idea and re started with Hahn's Halifax. Not
too bad, but really got stumped at the head rails, stopped,
and at my own inner urging, had the idea to build the Star
of India c 1900, the missing model of the trilogy of its life.
It took me two years ( 36 hrs. per week), starting with my
first bread and butter hull.
With all the guidance I had, I think I built a credible model
and Bob agreed. I had to move out of state before I completed
the rigging and a good friend and Master Modeler, Joe Bompensero,
completed the rigging and put it on display in the museum.
To this day I hate solid hull models and try to build pof or
pob and have not really completed one ever again. I always seem
to run into a stumbling block that I cannot overcome. Sound
familiar?
I am now starting to finish masting and rigging the
Constitution's Cross section (bashed to the point that,
except for the cannon, it is scratch built) after ruining
the hull. This has got me enthused again after 3 years of just
messing around.
I can't wait to start the C. W. Morgan staring at me from a
shelf shouting in my mind ... build me!!! This after giving up
on the Latham after ruining the transom ( I will get back to
that one.)
After all the experience I have had, it still boils down to
having a mentor at hand. You can not possibly run into all the
problems there are in one kit. There is always something that
presents a stumbling block and, in fact, may present an
insurmountable problem solved only by Scratch building the hull
all over. Some of us are not willing to do this, or do not have
someone at hand to help, but prefer to move on to a new project.
What am I going on about? I guess before you get seriously
involved in this HOBBY, you need to find a support group in your
area. Then you can build almost any reasonably sized model no
matter the degree of difficulty. It may take much longer than
your peers and you may wind up scratch building parts and maybe
even a hull if you really screwed up. So what? As long as you
have a buddy to help you out, you would be surprised at your
capabilities.
If you are on your own, then pick a kit that has a really simple
design that will get you through with a minimum of rebuilding
your mistakes and build your confidence. You may never build a
74 gun ship, but so what.... some of the simpler designed hulls
are really spectacular when they are done.
Bear in mind that you are your own worst critic and, for all the
criticism and nit picking you'll hear, that in the end, the
people that will see your models really don't see your minor
errors, only the overall beauty of a handmade wooden model ship.
Most of those guys doing most of the criticizing or giving advice
are professionals and have to try to be perfect The rest of us
can live with our shortcomings and enjoy the HOBBY.
All this stuff about trying to achieve perfection only applies
to a few really amateurish model builders that can't live without
perfection. The rest of us can sit back and really appreciate
the Masters, and then enjoy our somewhat lesser efforts. I know,
these Masters started somewhere. Realize that all of us will not
achieve this lofty distinction and don't beat your self up about
it. (Bob Cunningham)

2. I'm interested in starting to make RC model boats and was
wondering if anyone could help me with some info about a good
starter project or perhaps a good beginners book I could use
to get going with?
A: There are several but the best advice I could provide would be
to post this question in news:rec.models. where there are a
bunch of RC boat guys. (Larry Marshall)
***I can suggest several sources but first a couple of
questions:
o What sort of subject matter interests you? Tugs, Warships,
Ocean Liners, Race boats, etc.
o What sort of price range can you afford?
o How long do you want to spend building the project?
o What is your level of experience in other modeling areas?
If you can answer these I will try to steer you in the best
direction I can. (Kurt Greiner)

3. What is a good beginner's model kit to start with?

A: The following Wooden Sailing Ship Models are often recommended:
Bluejacket: "We're Here"
Midwest Models: ANY Midwest kit marked "beginner". Midwest
is very explicit about the skills needed to
build each of those small kits, so it should
be easy for any beginning modeler, with any
skills set, to make an appropriate choice.
'Dinghy' and 'Boston Whitehall Tender' are
recommended. And the instructions are Excellent!
Model Shipways: Phantom, Katy (schooner), Sultana
A. J. Fisher: Pilot Schooner, Lark
Model Expo: Gjoa, Swift, Scottish Maid, Pinky
Note that this list does NOT contain any of the popular
European kits - these suffer from poor instructions and plans,
inadequate research, and excessive complexity for a beginner;
only a small fraction of the kits sold are ever completed.
(John O. Kopf)
***Most modelers enter the hobby from plastic kits. (They
migrate to sailing ships from plastic aircraft or modern ships).
To many, the jump from plastic non-sailing ships to a wooden
sailing ship is too big. They become intimidated.
Some good plastic kits do exist, that are suitable as beginner
kits. These include the Heller 1:75 NINA and PINTA. (Little
jewels, although some filling is required. Also, I suspect
they are really 1:90 -- compare the hulls to the 1:100 plans in
Pastor's "Ships of Christopher Columbus"). Don't waste time on
the Revell Columbus ships. They are useful for fittings, but
of much lower quality than the Heller kits.
Another possibility is the Airfix 1:72 "Golden Hind." This has
more complex rigging, but simpler than say, the Revell 1:96
Constitution. If you do not mind using stretched sprue, the
Airfix "Great Western" is fun, too. The sail plan is simplified
because it is a paddle steamer, but there is enough to be fun.
I would recommend that only to an experienced plastic modeler
who is a neophyte in sailing ships.
An advantage to plastic kits is that you rig them just like
the wooden kits. Rigging tends to be the biggest challenge in
a sailing ship model. Get comfortable with rigging, and going
to wood doesn't seem so scary. (Mark Lardas)
***The Airfix Golden Hind needs some serious work, namely the
foremast moved. If a real sailing ship had a mast where it is on
the model, that mast would have very little support below the
decks. I've been on board the "real" Golden Hinde, i.e. the
latter day full size replica, whose masts extend down into the
guts of the ship, which is impossible on the ship depicted by
Airfix. To make matters worse, the model lacks parts for
anything much smaller than a cannon. If you want "something
that does NOT resemble a toy", steer clear of this kit.
The Airfix HMS Victory is a better model. Unlike the Golden
Hind, it includes minor details such as a figurehead and wheel.
For a beginner, it requires a good amount of effort, as will
any sailing ship model that size, but it can be done. It was
my first large sailing ship model, so I speak from beginner's
experience. :-) (Adrian Hurt)
***A good point...If you're unfamiliar with ships (either
sailing OR power), an inexpensive plastic model will help you
recognize the various parts of the ships, and help begin to
familiarize you with some of the problems you'll encounter (such
as few straight lines, flat surfaces, and the need to review the
plans and instructions before you "paint your self into a corner"
by installing one part that blocks the installation of a second
part). (John O. Kopf)
***I recommend you obtain a wood ship model kit that comes with
an instruction book which describes the DETAILS of the prototype
vessel, or vessels of the very type you are modeling. In other
words, the plans and general instructions rarely give a novice
enough information on what the rigging details look like, or
how to reproduce them in scale.
Start out with a fishing vessel which has one or two masts,
and is not square-rigged. I have a modest library of ship
model books from the 1970s, but none of them is likely to be
of a lot of help in completing a particular model, so I won't
recommend any.
Bear in mind that experienced ship modelers often junk the
wood strips supplied in the kit and replace it with strips sawn
from very hard, fine-grained wood like maple, apple, pearwood
and boxwood.
Good quality woodworking tools tend to be lot more costly than
the tools required for plastic kits. (Septimus)
***Before you run to the Candy Store with your check book you
should take a moment to seriously consider the following points.
1. How much time and effort are you willing to put into the work?
2. How much money can you afford to invest?
3. How do you rate your own ability?
4. Do you have a mentor or someone who can assist you when you
have a problem?
5. What sort of space do you have to display your work?
6. What type of ship do you want to build?
7. What is your actual purpose in building?
Keep it simple! Reflect a moment on your needs, wants, and
desires. Don't let your current enthusiasm carry you overboard
into deep water. Be honest with yourself!
In the selection of a kit. You may have already obtained a catalog
from Model Expo. This is a good start. However, before you buy
anything, make a visit to a local Hobby Shop and check out some
of the Kits they have available. Ask the clerk if you can look
at the contents of a kit and check out the plans, Instructions,
materials (wood, Fittings, etc.) to see what they look like, and
in what condition the material is in. Parts get damaged in
shipment or handling. Spend a little time to look at various
kits.
A Plug for Model Expo is their Unconventional Guarantee noted in
their catalog. Read it. I haven't seen this in other Mail
Houses to date, but you can bet that your local dealer doesn't
carry one like it. I had planned to order some of their kits, but
they never responded to my request for assistance. Maybe I asked
them the wrong questions.
The Kit you finally select is your choice. When the kit
arrives, take time to check it out before you attempt to cut any
wood. Look at the condition of the contents of the box. Check
the BOM (Bill of Materials) against the actual parts. Check that
the wood is not split, chipped, or damaged, and the number of
pieces listed are there. Check all the fittings for condition
and Quantity. Check the instructions and plans. In other words,
make sure that everything that is suppose to be there is.
Mistakes and/or accidents happen and parts or materials sometime
get broken or not get put into the box. If there is anything
wrong, notify the people you bought the kit from to correct the
problem, before you start. Most companies offer a 30 day
Guarantee (but only in the original condition).
This may excite the Armchair Admirals but do not concern
yourself with scale, history, modifications, or anything else at
this time. Concern yourself with these things later on if you
decide to continue the hobby. Kits are made to be put together
as is. The idea is to enjoy building and the pleasure of
displaying a job well done. So what if there are minor errors,
it's to be expected your first time out. No-one becomes a master
anything over night! The more your learn, the more you find that
you have to learn.
Again don't go overboard, there are too many people who start
out with high enthusiasm and ambitions only to have it peter out
when they realize the enormous task they face. But if you start
within your means and work slowly and steadily your can see the
result of your work and show it with pride. I built that myself!!
I've enjoyed this hobby for over 25 years it requires both time
and patience. Good Luck!! (Tim Keenan)

4. What's the difference between "bread-and-butter", plank-on-

bulkhead, and plank-on-frame construction? "Navy Board",
"Dockyard" and "Admiralty"?
A: In bread-and-butter ("B&B"), successive "slices" (sawn out of
planks) of the hull (either parallel to the keel or to the
waterline) are stacked and then carved to final shape, using
templates (see Question 11 about use of templates). The
individual planks are frequently "hollowed" so that the
resulting hull is only a thick shell of wood -- this make the
hull lighter, and helps prevent cracking which might result
from a solid hull.
Plank-on-bulkhead ("POB") uses cross-wise slices of the hull
to shape "bulkheads", which are fastened to a "backbone" with
the profile of the hull; these are normally made from plywood
and are common in the European kits.
Plank-on-frame ("POF") models actual "frames", fastened to the
keel.
The latter two methods are then planked (although nothing
prevents one from planking a bread-and-butter hull). Both
methods require beveling the surfaces of the bulkheads or
frames (see Question 12 about beveling).
POB models have excessive spacing of the bulkheads to support
the planking; these are normally double-planked, so that the
first layer of planks (the "learning layer") can be sanded fair
to produce a smooth surface for the second layer (the "finish
layer"). Unfortunately, the bulkheads are often so far apart
that the planks "sag" between fastening points -- many modelers
get around this by filling in the surface between the bulkheads
with some soft wood (balsa is fine for this) and sanding this
to the shape of the hull before planking...this essentially
results in a more-or-less solid hull (like B&B, with the
bulkheads serving as built-in templates).
One side advantage of POF is that the fastenings ("trunnels")
of the planks are properly located and have a solid backing to
connect to.
Dockyard and Admiralty are alternate names for a "Navy Board"
models.
The 16th century British Navy did not build their own ships; these
were built by contractors, after approval from the "lords of the
Admiralty" or the "Admiralty Board" (both names were used) - a
collection of aristocrats, nobility, and civil servants. Since
these people could not read plans, proposed ships were presented
to them in the form of a model.
These Navy Board models were a variation of Plank on Frame that
quickly became stylized in construction; instead of frames that
were continuous from keel to sheer, with gaps between the frames,
Navy Board models have interrupted frames.
Here, "futtock" timber would extend from the keel to a point near
the turn of the hull; a second futtock timber would overlap the
first, forming a solid band of timber at the bilge. These would
extend above the wale, and be overlapped again with more timbers that
extended the run of the first, keel futtocks.
The Navy Board models had the ends of the futtocks finely finished
and beveled to lie in a plane, and it was claimed that ships had
NEVER been built like that! Archaeologists are now finding evidence
that - at that time - ships were actually constructed in this fashion.
(John Kopf)
***I guess "plank on frame" in a strict sense would imply that
the ship is built with a hollow set of frames as opposed to a
set of massive plywood-style bulkheads, as you say. However, it
is commonly referred to as plank-on-frame whether you use
massive bulkheads or proper frames.
Proper plank-on-frame could be used if you wanted a complete
interior in the ship, or at least on the gun-decks. This is
rather hard to do with massive bulkheads. Also, I am convinced
that adding a complete internal structure with deck-beams et al
will make it easier to get the outside right - you will have
far more references to the placing of wales, gun-ports etc
(always assuming that the internal structure is put in the
right places :) It has certainly been a problem with my massive-
bulkhead Neptunus, 80.
I haven't tried building proper plank-on-frame myself, but
from what I gather it a) is a lot more work than plank-on-
bulkhead (all those frames to build and put in place), and b)
makes for a better hull shape and a more solid model. Think
about it - you would be defining the hull shape for each and
every frame, instead of just at the bulkheads, and the external
planking will be supported by an almost continuous array of
frames instead of just the occasional bulkhead.
(Staale Sannerud)
***Most of the plank-on-frame models I have seen omit the
planking on the lower hull, in order to show the detail of the
keel and futtocks and all that. I suppose you could do a fully
planked plank-on-frame model just for your own satisfaction,
but there would be little other point.
As I understand it, the actual planking process is a little
easier, because there is more material underneath the planks to
support them. However, this is more than outweighed by the
extra time and effort (not to mention material) necessary to
accurately model the frames. Unless you want to demonstrate
the construction of the original ship, you might as well go
plank-on-bulkhead. (David C Graf)
***Look at it this way. A 200' ship might have only 10
bulkheads, but 100 frames. If you were doing an admiralty
model, you would want to show all of the frames, so any
planking would be plank on frame. If you are building what
would be considered a completely finished hull, then you are
depending on the bulkheads (as defined in the ship's lines)
to give you the hull shape.
Here is a tip for you, if you fill in the space between the
bulkheads with pieces of balsa wood, and sand them down to the
ship's lines, you have the equivalent of a solid hull to plank.
(Thomas Burkman Sr.)
***Why would anyone plank a model anyway? By that, I mean
after the hull is planked you cannot see bulkheads either.
There are at least two reasons for plank on frame that I am
aware of. One, that's the way a real ship is made, so I want
to do it that way. Two, maybe I am going to put in some
internal detail, leave hatches uncovered, etc., and don't want
to have bulkheads visible (that were not there on prototype).
With large warships this internal detail might be the guns, and
the interior is clearly visible through open ports.
I might point out that there are a number of hybrids that are
neither fish nor fowl. Some POB kits feature the bulkheads cut
back to look like frames starting at the lower gundeck.
It is also possible to build a hybrid with a solid hull up to
the lower gundeck, with frames above that, this whole structure
then planked. In this case, of course, the hull is smaller by
the dimension of the thickness of the planks from what it would
be if it were a carved hull not planked over. (Don Stauffer)
***A scale plank-on-frame model is the highest expression of
the wood modelmaker's art: The keel, stem, sternpost, frames
and ALL hull timbers are accurate scale reproductions of the
prototype vessel. In some British "Admiralty" models, the
planking was purposely left incomplete to allow the viewer to
examine the hull timbers. (Septimus)

John O. Kopf

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Archive-name: ship-models-faq/part03
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Last-modified: 22 June 2001

This is the Frequently Asked Questions FAQ (part 03) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###############################################

5. What's the difference between Beginner, intermediate, or
advanced Kits?

A: This is a good question and difficult to answer. As a designer
for Model Shipways, I do not always agree with the final
category which appears in the catalog. There is naturally an
effort to categorize a model at intermediate or beginner
level - more sales! The recent Pride of Baltimore II kit was
desired as a beginners kit, I felt it an advanced kit, so we
wound up compromising at intermediate level. Here are some of
my thoughts as a designer and model builder:

Beginners -
Solid wood hull is often difficult to shape properly and it
takes some skill to fit templates and carve correctly. It would
then be an intermediate skill. However, many solid hull models
can be completed by the beginner simply by sanding it without
regard to total accuracy. Consequently, on the smaller models
with a solid hull the beginner can handle it. So, the beginner
should know something about sanding wood, and at least have the
skill to do some "pocket knife" carving.
The beginner should have some basic understanding of a ship,
knowing a deck from a mast and be able to read the plans and
instructions. If the model has rigging, the beginner should be
able to at least tie a knot to fake a seizing.
Since most models are painted, the beginner should have done
some painting with brushes and know how to make reasonably
smooth brush strokes. The beginner also needs to know a little
something about gluing parts together with white glue.
The beginner should possess the ability to stick with the
project a reasonable length of time, understanding that it
cannot be built in a hurry, and understand that a wooden model
will take a longer time and require more part making than say
compared with a plastic model where the parts are basically
complete.

Intermediate-
For solid hulls, the modeler should be able to use gouges and
chisels for removing wood and have the patience to work longer
on a large hull. For the POB hulls, the modeler should have
the skill to use a hobby knife and saw and cut parts accurately
to lines. Cutting bevels on the bulkheads and tapering planking
is important, and use of the tools is essential.
Intermediate models start to have many small parts for deck
furniture. The modeler must be able to handle and assemble
(glue) small parts together accurately and to keep them to
scale. In rigging, there will be more to do, so the modeler
must have the patience to spend the time to complete the rig.
They should have the ability to "think out" the rigging
beforehand, and also know how to push and pull lines about with
rigging tool aids.
The painting of the model is going to be more difficult. The
modeler should know how to plan painting the various parts and
proceed in an orderly fashion, so as not to work their way into
a hole.

Advanced-
Most advanced models are really just more of the same. The same
skills are required for the most part. The name of the game is
patience. The Flying Fish model from Model Shipways is an
advanced project. It was always a big seller to beginners and
advanced modelers alike. From old Model Shipways, John Shedd,
I was told that it was a good seller, but less completed model.
Modelers start but never finish the model. My only thought is
that they loose patience and get bored with the project over a
very long time period. So, you must have the patience and
endurance for advanced projects.
Like the intermediate model, the advanced model has even more
rigging involved, but if you can rig a single mast you can
certainly rig two. The skill is the same. An advanced project
will require you to do more detailing and the tying of simple
knots is not likely to be satisfactory. Consequently, you
should have the skill to make seizings of lines, wrapping them
with fine thread.
The advanced project will probably get you more into soldering.
The Flying Fish is a good example. There are many iron fittings.
So, you should have the skill to cut, shape, and solder small
brass parts. Sometimes, you can substitute other methods in
lieu of soldering. You should have the ability to make these
decisions and know that the result will be satisfactory.
Painting again will be difficult but should not be any more
involved than on an intermediate model. (Ben Lankford)

6. What experience have other modelers had with the European kits?

A: The following originally was with reference to an Artesania
Latina kit, but in general applies to ANY of the European kits.
(John O. Kopf)

***I bought a 1:48 model of the U.S.S. Charles W. Morgan (three-
masted Whaler) about 8 years ago for $180. I've been working
on it off and on over that time (with multi-year breaks of 'off'
time). Lately I've been 'on' and progress has been pretty
steady.
But during the work on the whole beast, I've been surprised at
how poor the instructions are and, despite fairly extensive
diagram sheets, how incredibly easy it is to screw up. This
was my first foray into model ships and I've obviously bitten
off a huge chunk, but it's been lots of fun. Except for the
part where I botched the stern. And the part in the bow where
the planks don't really form to the first layer of the hull.
And where the...
I doubt I'd have done a second one if I'd built something
simple. There's something epic about building this monster.
But to return to my question... Is Artesania Latina a reputable
outfit or not? And do they still exist? I'd like to talk to
them about getting some more stock for the ship (not enough
doweling for the spars). Anybody got an address on these guys?
To any fellow novices who are working on an Artesania Latina
model, here are my words of advice:
The guys who did the instructions are laughing their collective
behinds off at the thought of somebody following what they
wrote down. The order of steps is horrendous and frequently
leaves out dependencies between various pieces. Look at the
plans about 8 times, look ahead in the directions about 5 steps,
measure everything twice, dry fit it to the model a couple
times and then, only then, do it all over again before you even
think about cutting or shaping anything.
But in all honesty, the kit has been buckets of fun. I can't
imagine getting more enjoyment per dollar in any other way.
I know this much - the whales are safe from this baby...
(John Buehler)

***Like you, John, I'm working on my first Latina kit (it's
the Swift pilot boat) and I have to agree, the instructions
leave much to be desired. In my case there's no mention of when,
of even if, the keel should be attached. But you're right, by
reading the instructions thoroughly at least three times and
comparing the written word to the diagrams, you should be able
to manage.
I wanted to let the company know what I thought of its
instructions and tried to find the company on the net, but it
didn't turn up with Netscape Search.
As for spare parts, my local hobby shop is able to get
Artisania Latina parts (even for the Swift which has been
discontinued), but any quality hobby shop should carry the
dowels and the proper types of wood needed.
I've completed a couple of solid-hull wood ships this past
year and the Swift is my first attempt at planking a hull. I
have no gripe with the quality of the parts and fittings in the
Latina kit but I'm glad my first planking job is on their
beginner kit.
The company does still exist and I've recently seen their new
catalogue. The finished ships look great and I'm considering
buying their version of the Blue Nose II, but I'll wait until
I've experienced more of their Swift. I may opt for Model
Shipways version of the original Blue Nose. (Derek Conlon)

***I saw a review of Artesania's top of the line kit in an
English boat modeling magazine a couple of years ago. The ship
in question is the Spanish 74-gun San Juan de Nepomuceno, in
1:90 scale or something like that. Here are a couple of points
that I remember from the review.
The belaying pins were all out of scale, and had to be
replaced. The rigging plan was ALL wrong, and had to be
scrapped - time to dig out "Masting and Rigging" again...
The kit in itself got pretty good reviews, though. Good
materials, sensible layout and so on. I can't remember
anything about the building instructions, apart from the
rigging foul-up, but they can't have been too horrible or I
think I would have remembered.
From what the review photos showed, the Nepomuceno kit made a
pretty lovely model once it was finished - those Spaniards made
some beautiful ships back in the 1760s. (Staale Sannerud)

***A kit is SUPPOSED to provide the following advantages over
scratchbuilding:
1. Sufficient materials (of adequate quality) to build the
model;
2. Sufficient help (plans, instructions) to build the model;
3. Some saving of time (due to stock already properly
dimensioned, some parts already partially or fully formed).
From comments on this list, there appear to be many kits that
provide none of these!
(John O. Kopf)

***IMHO you are precisely correct, though I believe many
domestic kits tend to provide all three. You may spend a bit
(not much) more, but you get a better product. With all of the
accumulated expertise on this list I am sure you can determine
which of the domestic kits are the best value and most
authentic. (Al Blevins)

***Not to add fuel to the fire but before we paint all kits with
the same brush I have found that quality depends on the kit and
company. Like stated before I found the Mamoli kits are lacking
in detail and do provide kits of fictious ghost ships.
However, my experience with the new Model Shipways kit Constitution is the opposite. While there are some small details that are not dealt with (nail heads on the inside side of the bulwarks) its is a highly detailed kit (this is what I have found from my comparsion to the pics available on the Constitution website).
As well, with the limited research that I have done with the
Caldercrafts Agamemmon I have found it has been a highly accurate
kit. What has impressed me is the use of cut parts made of brass
that provide window frames, ornamentation and railings that are
do a good job of capturing the stern gallery accurately. NOW,
there is room to do research to capture treenailing and butting
of planks as well as additional work on detailing the rigging of
the deck cannons (Which is not provided with the Agamemnon kit
but is provided in the Constitution kit) But with the size of the
Agamemnon kit and the amount of wood that is needed as well as
the abundance of detailed fittings, I do feel the price of the
Caldercarft kit is worth it. And give it time as these kits are
out for awhile I imagine the price of the kit will come down.
I remember seeing the Mantua Sovereign of the Seas kit being as
high as $1,000 USD and its now down to $549.00 USD.
I guess my suggestion is to carefully look into a kit before you
lay the coin down and decide whether its worth your while to
build it as a kit to be bashed or to try building it as a
scratch. While I am planning to tackle a scratch project its not
because of the bad quality of kits its because I am interested in
constructed ships that are not available as kits.
But as was commented about the Friesland, the San Felipe also
has a questionable past, but I built a impressive version of it
and glad for it!
Anyhow, have a good one (Mike Draper)

7. I have a number of questions about working with resin kits:
a. What do I cut resin parts from their sprue with?
b. Should I prime the metal parts before I paint them?
c. should I clean the metal parts before I paint them?
d. Can I paint directly onto the Resin?
e. Should I paint the railings before I put them up?
f. Should I paint the ship before I put the railings up?
(Randall Shoker)

A: a. I use Xuron cutters. I have all three sizes: Large, small,
and the long-nosed. I'd say I use the small one the most. I've
used them to cut very fine detail parts off the sprues without
mishap. Then I take a X-Acto knife to trim the excess.
b,c,d. I would say that you should first wash all of the resin
parts to remove any release agents left over. I use Ivory
dishwashing soap (clear) for cleaning. Question ? Are the resin
parts on sprues ?!?!?! I've never clean etched parts, unless I
had to solder parts together and use a lot of flux.
If you are doing any masking I strongly recommend that you
prime all parts. The last thing you want is to lift-up the
paint when removing the tape. As for painting directly on the
resin, you can do it, but the risk of lifting paint is much
higher. (John Sheridan)

***Usually best to cut parts from sprue with a razor saw and
then sand smooth. Resin and metal parts should be thoroughly
cleaned before painting. Resin parts I scrub with hot water and
dishwashing soap, metal parts I clean with alcohol. Priming is
not essential but can be helpful. Definitely paint the railings
off the ship, and paint the ship before installing the railings.
If the ship has brass rod for fabricating masts and such, it
should be roughed up slightly with fine sand paper or the paint
will chip very easily. (Larry)

8. I hear reports of problems with some of the "resin" kits?

A: The following is from:
Ted Paris, President Commanders Series Model Inc.
It has been brought to my attention that a large number of
modelers have been having problems with warped resin ship
hulls. Having worked daily with resin for the past 7 years
I've learned a few truisms which I feel should be passed on.
1 Resin shrinks- The material itself is prone to shrinkage thus
some parts may require adjustment for fitting (usually minor).
2 Resin warps- Resin parts (usually hulls) if removed from
molds prior to total cure may bend and warp (Resin has a
memory). Parts removed or shipped prior to total cure may
warp.
-REMEDY- Soften part in hot water and reshape. If this
is not successful modeler should contact manufacturer.
Our company stands by a total replacement policy. The customer
should get all he or she pays for. We immediately respond to
all requests for information and parts support.
Hopefully modeless will have positive experiences with all
aftermarket resin kit's. There are numerous quality products
available from an ever growing number of manufacturers.

9. What tools do I need to get started?

A: In most all of the recent Model Shipways kits, the instruction
book lists those tools that are needed for the particular model.
However, this list has almost become boiler plate in the
instruction books I prepared. Here's a composite of my list:
A. Knives and saws
1. Hobby knife
2. No.11 blades
3. Razor saw or jeweler's saw
B. Files
Set of needle files
C. Clamps
1. A few small C-clamps
2. Wooden clothespins
3. Rubber bands, #16 and #33
D. Tool Set
A small carving tool set or individual gouges and
chisels for carving keel rabbets, tapering the stem,
or carving solid hull models.
E. Sharpening Stone
Necessary to keep tools razor sharp
F. Boring Tools
1. Set of miniature drills: #60 to #80
2. 1/16", 3/32", and 1/8" drills
3. Pin vise
G. Miscellaneous
1. Tack hammer
2. Tweezers (a few)
3. Small fine pointed scissors
4. Miniature pliers
a. small round
b. flat nose
5. Bench vise (small)
6. Soldering iron or torch
a. solder
b. flux
7. Wire cutters (for cutting fine wire and strip metal)
My response regarding tools was primarily for the "minimum"
needs, obviously addressing hand tools. There is also one power
tool that I keep on my minimum list, for models as well as
large woodworking projects. That is the band saw. I have never
been without one, and never will. To me it is the most useful
power tool in any shop, for fancy cuts, stripping, or just
plain cutting a piece of scrap wood in half.
For model work, a small band saw is desirable. I had been
using a large Sears saw up to a few years ago. However, I
bought a speed reducer for it, and now use it exclusively for
cutting metal. Of course, you can change the reducer, and
change the blade for wood cutting. But I'm to old for wasting
that much time. I decided to invest in a small model band saw.
Well, Micro Mark had just advertised a new Black and Decker
band saw for the modeler. I jumped at it. But boy was I
disappointed. This was a big piece of junk. I think it had
a wooden or rock gear drive. It was so noisy you could not
believe it. It was also not accurate, would not line up, and
the case and other parts pure trash. I was not happy that Micro
Mark sold such a thing. Well, maybe they got the word too,
because they soon dumped it, or maybe B&D did.
What I have now, and good old Micro Mark is selling it also,
is the new Delta 8 inch band saw. This is one dreamboat. It is
so quiet you can hardly hear it running. Very accurate and the
case and all parts are of excellent metal and machined very
well. It cuts smooth as silk. I generally use a 1/8" blade
which is very thin. You can get this saw for a song at the big
stores like Home Depot, and some mail order.
As a model band saw, cutting small stuff, I added a new plastic
laminate table on top of the metal table. Saw a slit to the
center with the blade and you have a nice table without the big
hole around the blade. (Ben Lankford)

***While I now have a pretty good stable of power tools, I have
scratchbuilt hulls using a coping saw. While a jig saw
certainly makes life easier, it is not absolutely essential. I
used thinner lifts, and these actually make shaping the hull
easier anyway, although it is more work cutting more layers.
Of course, that may require re-lofting the waterlines, but that
doesn't take more than a couple of hours.
Of course, this requires that the hull be built bread-and-
butter, but I always do that anyway. Wood gets expensive when
you want a single large block.
The thing I like about scratch building is that I can pick my
own scale, and can build any ship I want, not just the ones
that are kitted. (Don Stauffer)

***The only power tool I have is my Dremel! No real workbench,
no large saws, not many tools bigger than an Exacto, I borrowed
a table saw & other tools at a friend's house to do the first
cuts on the Incomparable hull) That's why I don't scratchbuild
more than I do. Kits, even inaccurate ones, require far fewer
facilities, and far less time to make into an acceptable model.
(David R. Wells)

***The producers of model kits supply wood and metal parts for
a completed kit of average detail. A "good" kit will have plans
which allow the dedicated and experienced modeler ample scope
for adding more detail. Generally, you have to supply some
materials yourself.
I think you will add more tools and materials to your workshop
with each kit you build. (Septimus)

***One of the nicest and most accurate hand tools to use in
woodworking is a good block plane. One of the earlier messages
mentioned using a razor plane, which uses removable blades that
look like single or double edged razor blades. I used one for
years, until the special blades it used became unavailable. Then
I checked up on "traditional" planes and now am *much* happier.
Here are the basic steps:
1. Get an old miniature plane in restorable shape. What you are
looking for is something like a Stanley 100
(http://www.supertool.com/StanleyBG/stan11.htm#num100) or Stanley
101 (http://www.supertool.com/StanleyBG/stan12.htm#num101). I
prefer the 100, because I find the "squirrel tail" handle to be
more comfortable and to give me more control. They are fairly
rare and significantly more expensive than the 101's. You should
be able to get a decent 101 off of eBay for between $20 and $40.
A lot of time people selling them don't know what they are, so
they list them as "toy plane," "little block plane," "funny
little plane," etc. As always on eBay, patience, persistence, and
creativity with the search engine pays off. There were similar
models made by both Millers Falls and Sargent. Look for one whose
description says "minor rust" or "no pitting." If you're buying
it to use, you don't really care what shape the japanning (the
baked enamel) is in, but collectors do, so that's where the
bargains lie. Look carefully at the picture to make sure the body
of the plane is a casting and not the cheap stamped ones sold by
Stanley when they started going downhill. In general, the older
it looks the better the steel in the blade will be.
2. Clean off the rust with your favorite rust remover and steel
wool.
3. Sharpen the blade. The now-legendary "scary sharp"
(http://www.shavings.net/SCARY.HTM) system really works. This
involves using fine grades of abrasive paper glued to a flat
(glass or marble) surface. I found that for small blades you
don't really have to glue the paper down, and using just three
grits (400, 600, and 1500) works just fine. (Fine grit wet or dry
paper is available at auto supply stores). You'll need a rolling
jig to hold the blade at the right angle; look at the full-size
ones at a hardware store, then make a miniature out of a block of
wood, some wing nuts, and a couple of 1" shower curtain rollers
from the hardware gizmo display. I use a marble base from a
junked desk pen set for my flat; you can also get marble scraps
cheap from monument places. Having a good reference flat is
useful for other things as well. If the blade is in really rough
shape you may have to start with 220 to grind it to shape then go
down through the grits until you get a mirror surface. Watch how
you test it with your finger -- it will indeed be *scary* sharp.
4. Lap the sole. The bottom of the plane will almost certainly
have warped a little with age, and is probably scratched to boot.
Using the same abrasive paper and flat surface, rub in a figure
eight pattern until the sole is flat. You can see this develop in
the pattern of scratches as you go.
5. "Tune" the plane. This involves getting the blade aligned to
the sole and sticking out just a few thousands of an inch. The
100/101s don't have the fancy threaded adjustments of the bigger
planes, so this looks tricky at first. Actually it's easy. Get
some shim stock of varying thickness. Lay the plane on your flat
surface with a piece of shim under the nose, which will mean
there is a tiny angle between the sole and the surface. Slide the
blade in place, letting its edge lie on the surface. Tighten the
locking screw and take a trial cut. Adjust depth by changing the
thickness of the shim stock, moving the shim in or out, or both.
6. Admire your work. You should be able to cut the tiniest of
shavings off bass or spruce. I "scary sharp" my larger (old)
Millers Falls block plane, and I can tune it to cut a .001
shaving the length of a six foot long sitka spruce mast. With one
of these you'll learn the manifold advantages of being able to
shave off just what you want, flat and smooth, without the
frustration and rounded edges you get when you play with rasps
and sandpaper. (Earl Boebert}

John O. Kopf

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Sep 22, 2001, 7:10:43 AM9/22/01

Archive-name: ship-models-faq/part04
Rec-models-scale-archive-name: Ship_Modeling_FAQ/part04

Posting-Frequency: quarterly
Expires: Fri, December 28, 2001 00:00:00 GMT

Last-modified: 22 June 2001

This is the Frequently Asked Questions FAQ (part 04) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###############################################

10. What power tools do I need?

A: The only power tool that you NEED is a good source of
light!
However, there are other tools that you might find USEFUL,
depending on what you're doing!
You may find a small soldering iron useful for forming brass or
copper fittings from sheet, strip or wire.
Many modelers find use for a small "grinder" (such as a "Dremel
tool" or various equivalents). If you have a choice, get one with
variable speed; failing that, get one with low speed(s) available
(the common ones run at ~30,000 rpm Ð far too fast for drilling
or sanding activities) Ð the Dremel MiteMite can be found for
about $30, and provides the choice of 6,000 or 12,000 rpm
operation. Many of these tools come with a sack of grindstones,
etc. you'll find that you don't use most of these (they're there
for other kinds of activities), so don't base you decision on the
collection included; instead, get the minimum with the tool and
add to your personal set as you find a need. One thing you will
find a use for is a full set of "collets" Ð a set typically
contains 1/8", 3/32", 1/16", and 1/32" diameters. The "bits" that
come with the tool usually need the 1/8" collet, but bits you
scrounge from your dentist are typically 1/16" or 3/32", and
drill-bits will use the smallest sizes. However, even the slowest
speed is overly fast for wood, and extremely fast for plastic
(you'll MELT your way through the plastic rather than cutting
it). Remember that the smaller the drill, the faster it can be
turned without overheating the drill and work. However, the
smaller the drill, the more "brittle" it is, so take great care
when attempting to drill extremely small holes free-hand!
(Micro-Mark has a special little chuck for cordless screwdrivers
for slow speed drilling; it is made for #60 - 80 bits: [#81653
Micro Chuck - $9.95]; cordless screwdrivers are a little bulky
but they run slow and are fairly inexpensive.)
The use (not need) for "full-size" power tools will depend a
great deal upon your interests Ð if you also plan to build
furniture (or model cases) or have do-it-yourself projects around
the home, get tools for these activities that you can also use
for modeling (rather than get them for modeling and hope they'll
be useful otherwise).
One of the more useful items will be a power drill, either a
hand-held unit or a drill-press. The advantage of a drill-press
is that the tool is fixed with respect to some surface ("table")
which makes it a lot easier to drill holes with the proper
alignment (but it won't solve all problems, such as inclined
holes for masts). It can also be used to hold a variety of tools
(such as "sanding drums") that will make some jobs easier. Most
hand-held units have as an accessory some sort of stand that
permits them to be used as a drill-press; however, these are
much "shakier" than a purpose-build drill-press.
When you get to saws, what you will find a use for really
depends on what you're doing. Unless you're scratchbuilding, you
probably won't need a power saw; conversely, if you're harvesting
your own wood from trees, you might want to include a chain saw
in your toolkit. In general, however, there are three types of
saws of potential interest:
"Table" saw (and the modeler's variants, such as the "Preac"):
these are intended to make long straight cuts; you can't cut
curves. You are typically limited as to the thickness of the work
as well: 2" for a full-size table saw, 1/4" for a modeler's saw.
However, they are unexcelled for cutting strips off full-size
boards (for making planking, etc.) and making clean, straight
cuts. In general, the bigger the blade diameter, the thicker the
stock you can saw - IF the saw has the power to make such a cut!
In general, the resulting surface will be quite smooth, requiring
only sanding to finish it.
"Scroll" or "Jig" saw: typically has a long arm with a short
blade held vertically; the blade readily dismounts to permit
replacement or "threading" through a hole in the stock, thus
permitting inside cuts. The disadvantage is that the blade has
only a limited degree of motion; you're probably limited to work
under an inch in thickness. The key parameter here is the depth
of the "throat" (the gap between the back of the blade and the
frame) - that limits how LONG a piece of stock you can cut.
"Band" saws have a blade in a continuous loop that passes around
a pair (or three) wheels and past a table. These have a large
ability to turn sharp corners; very wide (up to several inches -
the limit is the particular saw) for ensuring straight cuts (such
as "splitting" a board in order to make thin, wide strips). A
bandsaw can be used to make inside cuts, but it's certainly not
convenient (you either have to cut the blade, thread it through a
hole in the work, and re-weld it, or saw through the work and
glue the cut when you've done) as a jigsaw. The most useful saw
if you have to cut thick stock (can even be used to make boards
from logs). The key dimension here is the depth-of-throat (the
gap between the side of the blade and the frame); a secondary key
is the depth-of-cut Ð how THICK a piece you can saw.
Both jig and band saw blades are usually "punched" out of sheet
metal. the result is that the blades will tend to cut more
aggressively on one side than the other. This can be a real
nuisance if you're trying to cut a straight line using one of
these saws Ð you have to compensate continuously in order to
"follow the line". It can be done, however. Also, neither is
likely to leave a smooth cut.
If you are "milling" your own "lumber", some sort of
"thicknessing" device will be useful. These are typically some
form of abrasive drum whose surface is parallel to an adjustable
table. Passing the stock between the drum and table "planes" one
side smooth(er), successive passes on each side will permit the
stock to be reduced to the desired thickness. The key dimension
here is the length of the drum, since that will determine the
maximum width of stock that can be thicknessed.
Lathe: a lathe is used to "turn" stock around an axis while a
cutting tool is used to remove material from the circumference.
Lathes come in two "types": "Wood" lathe (the cutter is a chisel
controlled by hand) and "Metal" lathe (the tool is fixed on some
sort of carriage whose motion is controlled by hand-cranked
screws). Frankly, neither type is that great an advantage in ship
modeling. The most common "cylindrical" objects on a ship model
are masts and spars, dead-eyes, and belaying-pins; the first of
these are awkward to turn because of their flexibility; the
latter two will be required in such quantities that making them
all identical becomes a chore. The metal lathe has the slight
edge in utility because it typically has some form of chuck that
can hold the work (the wood lathe more commonly attaches the
stock to the lathe for the duration of the operations, and
significant time can be spent putting the stock on and taking it
off).
Milling machine: like a drill-press with a vise that can be
moved around using cranked screws to position it accurately. "If
you don't know what a milling machine is, you don't need one!";
if you DO know, you also know what to look for. (Compiled from
various discussions on the ShipModeling Email list by John O.
Kopf)

***To summarize the posts on drilling plastic with a Dremel, I'd
say:
1. The variable-speed Dremel Moto-Tools operate at high rpm to
accomplish their work rather than using low-end torque like your
basic hand drill. This causes the drill bit to generate enough
heat to melt the plastic you're drilling.
2. The solution is to use a single-speed Dremel Moto-Tool which
is plugged into a Dremel speed controller. You can then operate
the tool down to zero rpm if that suits your purpose.
3. The variable-speed Moto-Tools are not designed to work
plugged into a speed controller, just the single-speed models.
4. A Dremel Mini-Mite has a high and a low speed setting; the
latter is used for drilling styrene. I have one, I drill a lot of
styrene, and it works just as well as my single-speed Dremel tool
which is plugged into a Dremel speed controller.
5. Both the full-size Dremel Moto-Tool and the Dremel Mini-Mite
will accommodate the same range of four collets which are
interchangeable between the two tools. The Mini-Mite comes with,
I believe, the medium collet, and so you will need the other
three, available as accessories, to chuck in the full range of
Dremel bits, grinders, etc.
6. With the smallest collet, both tools will grip a #80 drill,
which is .013", quite nicely.
If you need a brochure or other information, you could look into
Dremel's web site at: http://www.dremel.com/main.html (Bob
Steinbrunn)

***Just a couple of observations on the hard-earned money headed
for Xmas tool purchases. I worked as an organ builder in a shop
where we necessarily worked with many different materials -
woods, steel, non-ferrous metals, leather, plastics - to name a
few. Much like ship modelers, on a somewhat larger scale. One
big difference in a big shop is that the tools will be used by
many different workers, which means that the tools get maximum
wear. Only the very best tools held up for any length of time.
My experience would place Milwaukee tools near the top, Craftsman
near the bottom. So, should you buy the most expensive tool you
can? I would say no. I have Craftsman tools that still work fine
after many years. Why? Because I'm the only one that uses them
I'm easy on tools and other mechanical devices. If you are too,
you can get often very good service out of a less-expensive tool.
If, however, you are one of the folks that can f...ummm...do
serious damage to an anvil with a rubber hammer, your money will
be well-spent on sturdier, and necessarily more expensive tools.
Similarly, if your bandsaw is 8 feet tall and all cast iron, it
will not need to be adjusted every time the weather changes.
But, when you get into miniature versions of tools, every
adjustment becomes critical. It is also very easy to overload
them, and things like the exactly appropriate blade for the job
become important. This is not a criticism of small tools, it's a
simple fact. Some extraordinarily well-made small tools can
overcome this scale effect to some extent, but that usually comes
with a huge price tag. I hope this helps a bit in making that
decision. If you can afford the best, by all means, treat
yourself. For the rest of us, you can do excellent work with
less expensive tools if you treat them well, and use them within
reasonable limits. (Gene Smith)

11. What scale should I use?

A: Ship models have been built in various scales, from 6"=1' (the
model of the whaling bark Lagoda in the New Bedford Museum) to
1"=100' and even smaller. Obviously, the smaller the scale,
the smaller the model (and all of the details thereon); the
larger the scale, the easier it is to put in fine detail.
A "museum quality" ship model (see # 59, Part 12) generally
shows all details that will have a dimension of at least 1/16th
inch on the model.
Common scales are specified in one of two ways, either as a
pair of dimensions (e.g., 1/4 inch = 1 foot), or as a
dimensionless ratio (e.g., 1:48). The latter is probably a
better usage, since one unit on the model corresponds to *n*
units on the actual ship (no matter WHAT units are being used...
inches, feet, metric, "points", etc.; it also avoids confusion
(is a 1/16 model 1:16 or 1"=16' ?)
Probably the most important criteria is: how much room do you
have to display the model? Consider the Queen Mary -- Overall
Length = 1,019.5 ft. (310.74 m.) -- admittedly an extreme
example, and the U.S.S. Constitution ("Old Ironsides") --
length (between perpendiculars) = 175 ft.

Scale Length of model: Q.M. Constitution
1:2 6"=1' 509' 9" 87' 6"
1:3 4"=1' 339' 10" 58' 4"
1:4 3"=1' 254' 10" 43' 9"
1:6 2"=1' 169' 11" 29' 2"
1:12 1"=1' 84' 11" 14' 7"
7:96 7/8"=1' 74' 4" 12' 9"
1:16 3/4"=1' 63' 9" 10' 11"
1:24 1/2"=1' ==> 1" = 2' 42' 6" 7' 3"
1:32 3/8"=1' 31' 10" 5' 6"
1:36 1"=3' 28' 3" 4' 10"
1:48 1/4"=1' (1"=4') 21' 3" 3' 8"
1:60 1"=5' 17' 2' 11"
1:64 3/16"=1' 15' 11" 2' 9"
1:72 1"=6' 14' 2" 2' 5"
1:96 1"=8' 10' 7" 1' 10"
1:128 3/32"=1' 7' 11" 1' 4"
1:196 1/16"=1' 5' 3" 11"
1:384 1/32"=1' 2' 6" 6"
1:500 2' 4"
1:700 1' 6" 3"
1:768 1/64"=1' 1" 4" 3"
1:1000 1' 2"
1:1200 0' 10" 2"

Kits often are to a scale "that fits the box" -- I have an
ancient set of kit plans for the Normandy at 1:686 ! And, of
course, there are other, "bastard" scales (model railroad "HO"
scale is 1:87.1 ==> 3.5 mm = 1"). The "popular" scales seem to
be: 1:700 (plastic warships), 1:96 (modern ships), 1:48
(sailing ships), 1:24 & 1:12 (small boats).

*** How much space do you have to devote to your collection?
1:48, 1:96 and 1:192 are popular (but not exclusive) scales
used in maritime and naval museums in the U.S. In Europe,
Metric scales (e.g., 1:100, 1:200, etc.,) seem to dominate.
(RAlcorn824)

***I have seen various postings on the net proposing a
standard modeling scale for naval ship models, 1:700 being
too small for those of us with crappy vision, and 1:350 being
only great if you have a stadium to display your finished
models (1:500 would be great, too). Well, my humble proposal
is (no surprise) 1:600. (Joseph W. Reyna)

***To a large extent I agree. Also, most 1:700 scale ships
are waterline models. I hate them. I like working on props,
rudders, bilge keels, etc.
Most of my fleet is between 1:450 and 1:600.
Thanks to the folks on r.m.s., I've been working on more 1:600
Airfixes lately. My British collection is getting to be quite
big, and it will soon outgrow its display box.
Also, Arii makes Yamato class & Iowa class battleships in
1:600.
Keep in mind that Frog, Renwal and Nichimo also put out 1:500
scale ships. Find them if you can. Frog & Renwal are gone,
(the Frog molds are in Russia, and Revellogram has the Renwal
molds) and the Nichimos are rare.
A standard scale is exactly what is needed. Unfortunately,
the standard is now 1:700 waterline. For good, bad, or
indifferent, most of the model kits today come from the Far
East, and they are the staunchest supporters of the 1:700
standard. They aren't going to make all new molds just for us.
There aren't enough ship modelers to make it worth their
while. Similarly, Revellogram is going to continue with their
"box scale", simply because they aren't making any new ship
molds, and they get by with just re-issuing their old stuff.
As much as I would like to see a 1:500 or 1:600 full hull
standard scale, it isn't going to happen. (D. Wells)

***Ever tried Heller's 1:400? Good stuff :-) (John G. Burns)

***That depends on *what* you build. True a 1:350 battleship
may be big but a destroyer or a sub is about the size of a
1:48 airplane.
This scale is not as bad as you may believe. Here are some
dimensions for the ships that we as ship modelers need in
this scale:
USS Pennsylvania BB38 20.84" x 3.43"
USS St. Louis CL49 20.57" x "2.12"
USS Alaska CB1 30.21" x 3.13"
USS Saratoga CV3 32.17" x 3.30"
And the detail to these that someone could do would far exceed
any of these other smaller scales! (REDBOZO6)

12. How does one change the scale of plans?

A: In the past, people made do with pantographs, proportional
dividers, and basically redrew the plans by hand.
Today, people use "copiers" to scale drawings up or down. A
typical copier can enlarge or reduce a drawing by from 64% to
142%. Unfortunately, this doesn't help much if you need to
change the scale more than this amount. However, you can still
get by making partial scale changes -- for example, expanding
by 141% and then expanding the first expanded copy by another
141% gives you 1.41 x 1.41 = 1.9881; expanding it by 142%
instead gives 2.0022...either is probably close enough to 2x to
be acceptable.
Likewise, reducing by 71% twice gives a net reduction of 50.41%;
71% and 70% get you 49.70%, either is probably close enough to
1/2x to be useful.
When enlarging, lines tend to get broader (and "muddier") --
set the copier to "light" to help reduce this effect.
Copiers tend to "stretch" the drawing more in one direction
than the other (this is supposedly to prevent the copying of
paper money -- the resulting image won't match in change-making
machines). If you are doing multiple expansions/compressions,
try to change the orientation of the drawing each time (from
horizontal to vertical, etc.) so that the error introduced in
one operation is canceled out in the next.
If you anticipate needing multiple copies, do them all at once,
using the same batch of paper -- that way stretching or
shrinking of the paper is more likely to be uniform for all
copies than if you made copies at different times using
different lots of paper.
Finally, commercial copy shops can frequently make larger
copies, and/or bigger scale-changes with one pass. In order to
help them produce a copy of the correct size, draw a pair of
lines somewhere on your source, at right angles to one another,
and properly scaled and annotated with something like "enlarge
to 6 inches long" -- that way you won't have to explain about
the (often obscure) scale that is on the plans themselves. (If
you are using historical foreign sources, make sure what units
are actually being used -- for example, Chapman has scales in
Swedish, French, and English feet...all are different!)
(John O. Kopf)

*** Whatever fits, it seems. Plans I use range from 1/2" =
1' to 1/32"=1' much smaller than this becomes self defeating,
even if you are building a model to a smaller scale. (RAlcorn824)

13. I think a brief discussion of "English vs. Metric" system of
measurement and the trade-offs for each as it is pertains to
ship modelers and other modelers in general is appropriate to
this forum. (Dana L. McCalip)

A: Let us be certain to impress on the list members who are new
to modeling that they should pick EITHER metric or English
measurements for a project. If there is anything out there
which can screw up an already mysterious (as seen by the eyes
of a newcomer to ship modeling) undertaking, it is trying to
wend back and forth between metric and English. With the
exception of Dana's observation concerning the availability
of ready-made parts, it really doesn't matter which you use.
But only use one method per project!!! Beware, beginner, thou
hast been warned!
This comment was and is directed to the BEGINNING modeler. As
the beginner develops his or her skills the ability to rapidly
flip-flop between the two measurement systems will be attained.
I would be most surprised if you experienced modelers could NOT
interchange at will. Let us all remember that in addition to
helping one another, our mission here (as I see it) is to help
train the novice. (Mickey Martelle)

***I personally think all you guys (and gals if there are any)
are making a mountain out of a molehill regarding metrics and
English. Both are units of measurement. There may be a slight
difference between a metric part and English, but it is very
close in the scales we deal in. I put both English inches and
millimeter units on my plans, so the US guys can use inches,
and the overseas guys can use millimeters. Its more of a
familiarity with one system vs. the other.
With models, what I have seen is equivalents that are really
not equivalent. I am currently working on a project done in
Italy, and the Italian firm gives basically millimeters.
However, they have also given equivalents in inches. For
example, they wanted certain parts cut from 1mm thick wood.
They said this is 3/64" in inches. Well, that's not exactly true
because 3/64" is 1.19 millimeters. But does it really make a
difference? Use 1mm wood cut in Europe or 3/64" cut in the US
and at a small scale the difference is hardly noticeable. Am I
making myself clear? I f not I would like to hear more from
those interested, and be more specific. The last few messages I
read were too general. This one I am responding to is an
example. "Stick to one system. Why? I often use inches and
millimeters on a project. Sometimes I find it easier to divide
things or measure things in millimeters than inches. I relate
to full scale sizes better in inches, but I am talking about
the process of model building. I think everyone who is involved
in technical stuff like model building should be able to work
and interchange either system. If you can't you are just not
doing your homework. (Ben Langford)

***I have been following the English/Metric scale discussion
with interest. All of the contributors have had valuable things
to say, and I have only two small things to add.
1. I have a 6" steel rule from Model Expo with both English
and Metric scales. The first 5 cm of the Metric scale are
graduated in 1/2 mm increments, which is more than small
enough for most woodworking purposes, since I always cut a
little long and then sand or file to fit. I do not know
if it is still available.
2. When working in 1/2", 1/4" or 1/8" scale, I use metric ruler
divisions to approximate full size English units. While
this sounds a little screwy, it works quite well. This is
because of the close approximation between the scale (1:24
for instance) and the ratio of English to metric units
(1:25.4).
For example, if a cap rail is 4" wide, full size, it will be
4/48" or 1/12" in 1/4" scale. This is a measurement which does
not appear on any ruler.
However, at the same scale, 1mm is almost exactly equal to 2"
( 1.8912" precisely), so I measure 2 mm and I have my 4" actual
dimension. I do not do this when building in 3/16" or 3/8"
scales, since the divisions on the ruler match full sized actual
dimensions. For small details or ropework I use calipers, as
has been suggested by others. (Dan Pariser)

***I probably am talking too much, but to "train the novice" is
not to say avoid something. If the novice does not deal with
metrics and English, how the hell will they ever learn anything.
Let's tell them how to deal with the subject, not to avoid it.
Most novices are model builder novices, but they are not
idiots. Some are probably as old as we are and with a lot more
technical skills. Do not assume that a novice model builder is
some dumb s-o-b kid. (Ben Langford)

***The O N L Y time that using "English" or "Metric" units
matters is when you're converting the A C T U A L dimentions
to the scale dimensions - then one set of units or another may
be more convenient, depending on the units of the original
dimensions and the scale conversion; 1 meter is easier to convert
to 1:50 using decimal and 3 feet is easier to convert at 1:48.
If you're M E A S U R I N G from a drawing, it doesn't
matter - a compass (with NO units / dimensions) will work just
as well! (John O. Kopf)

John O. Kopf

unread,

Sep 22, 2001, 7:10:45 AM9/22/01

Archive-name: ship-models-faq/part06
Rec-models-scale-archive-name: Ship_Modeling_FAQ/part06

Posting-Frequency: quarterly
Expires: Fri, December 28, 2001 00:00:00 GMT

Last-modified: 22 June 2001

This is the Frequently Asked Questions FAQ (part 06) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###############################################

THE HULL
========

19. I have some plans I bought from Floating Drydock a few years
ago of the Montana-class battleship and Alaska-class cruiser.
I'd really love to scratchbuild these guys in the future, which
leads me to my inquiry...
None of the articles in the modeling mags show how people have
scratchbuilt their ship hulls. I'm wondering what experiences
others have had in doing it, especially what techniques work
the best for them.

A. A lot depends on the scale you're using, and on the intended
purpose. The best method for a 1:1200 waterline model is
probably carving from the solid; for a large model either
bread-and-butter, planked bulkhead, or some combination of the
two will probably serve best. (John O. Kopf)

***If you are considering building a hull for display on a
fairly large scale check the these references: Scale Ship
Modeler, June 1995, Mike Winters has an article on building a
cruiser (USS Memphis) using bread and butter method using
styrofoam insulation panel instead of wood. I have been working
on a liner at 1:192 and found this material easy to work with
and am quite satisfied with result. I modified Winters
technique, though. Try Scale Ship Modeler March/April 1995
where Jack Melody describes building the battleship USS IOWA
(1896 vintage) at 1/20, 1 inch=20 ft. using a hull made partly
of solid balsa block below waterline and bulkheads above with
balsa sheathing. (Al Rauber)

***Mine is not the approved method, but here's how I always did
it.
1) Take appropriate size chunk of wood.
2) Using saber saw, band saw, whatever's around, cut out the
basic outline of the ship.
3) Make templates from the hull sections on your plans.
4) Carve/file/sand the hull until it conforms to the templates.
OK, that's a gross oversimplification, but the basic technique
is there.
I freely admit that I did not use the bread-and-butter method.
The reason is that I worked in relatively small scales,
(1:500-1:600) and big-enough wood was readily available.
(David R. Wells)
***I seem to recall that the Nov/Dec '94 issue of Model Ship
Builder magazine had an article about scratch-building a hull
of the type you are referring to. I believe the author was a
long-time builder of static-display wooden sailing ship models
(I'm working from memory, here) and he decided to build a model
of a more modern ship as a change of pace. Some scratch builders
construct their hulls with plastic sheet, but his approach was
much like building a sailing ship model, with plywood bulkheads
and wooden strip planking. If you can find a current issue of
MSB, you can probably back-order that issue for about $6.25 or
so. (Brett Denner)

***OK, I'll chime in on this. First and foremost, you're in
real good shape with those plans. In looking at the listings
in The Floating Drydock's catalog, your Alaska plans will have
the hull sections you need for building the hull. As for the
Montana, go out and find a copy of Dulin & Garzke's "U.S.
Battleships" (ISBN:1-55750-174-2). In the section on the
Montana's you'll find a set of hull lines for her.
Now the fun (?) part. Hull sections (HS) look like a funny
drawing of the hull with one half looking aft and one half
looking forward. On each of these halves, there are curves
lines that are labeled with either numbers or letters. These
lines are frame references, and they'll correspond to marks
below the outboard profile (OP) view. These marks show where
each of the lines on the HS drawing are located according to
the OP.
To build from these, I use the plank on frame method. What you
want to do is to set out a keel dimensioned to the length of
the bottom of the hull on the OP. It doesn't matter the shape
right now. Next, use the HS drawing to make each of the
bulkheads shown. Now remember, you're looking at half of it,
so duplicate the left (or right) side for each bulkhead.
Number each bulkhead as you make them so that you can keep
track of them. Next. mark the positions of the bulkheads from
the OP on to the keel piece. Attach the bulkheads to the keel
at the proper places, and you'll have the frame of the ship.
Once you have the frame, the next thing to do is to start
placing planking on the outside of it. Use relatively small
pieces to do this, and don't worry about making them fit
exactly since you'll eventually sand them smooth. Once all of
the planking is in place, sand out the rough parts and joints,
and you'll have your scratch hull.
Two words of warning. First, when you're at the point of
attaching the bulkheads to the keel, it'll be very delicate.
But if you break off one of the bulkheads, just glue it back.
Second, make sure that you allow for the width on material
you're using. I use .06" plastic for my hulls, so when I
measure out a bulkhead, I've got my calculator programmed to
automatically subtract .12" from the overall calculation.
(REDBOZO6)

***I can't say which works best, but a long time ship modeler
locally builds his hulls from 1/2" basswood planks. The planks
are first cut to shape to match the widest part of the hull
section, and once all of the layers are glued together the hull
is sanded to shape by removing the "steps" in the planks. He
notes you have to be quite careful not to create convex/concave
surfaces doing this...

***Since many modern ships have a relatively square cross-
section for much of their length, a combination of bread-and-
butter for the ends and planked bulkheads for the center work
relatively well. When I've done this, I start with a plank
cut to the shape of the lowest waterline. The severely curved
ends are build up as bread-and-butter sub-assemblies. The
"central" portion of each is rabbeted for the ends of the
planks. These ends are fastened to the bottom plank. The
intermediate stations are drawn onto plywood, allowing for the
thickness of the planking (I don't use a central "backbone",
although I have seen others use a "box-beam" here - that's
simply a long plywood box that the bulkheads slid onto -- very
rigid and torsion-resistant!).
Also allow for a thick strip at the sheer (and, if the curving
of the bilge is extensive, I also allow for a block there).
The bulkheads are glued to the bottom plank in the appropriate
locations, and the shear strip (and bilge blocks, if used)
are installed. Planking the remainder is now easy, as the planks
will all be relatively straight. (John O. Kopf)

20. What are diagonals used for?

A: A diagonal is nothing more than a plane cut diagonally through
the hull at various points. You draw diagonals at several
locations so that the diagonals are perpendicular to the
station lines at various points. You measure along the diagonal
to each station line, then draw a curve through the points just
like you do a waterline. This curve must be fair. If not you
have to move the station line point. That's fairing!
The advantage of the diagonal is that it crosses station line
nearly perpendicular, so there is no room for error. Near the
stern the diagonals are really important. They can straighten
out a real mess. (Ben Lankford)

21. How do I bend wood for a ship model?

A: The best method to use depends upon the dimensions of the stock,
and on the degree of bending required. In general, wood
*should* be pre-bent; if it is simply "wrapped" onto the model
the resulting tension can easily tear the model apart after a
few years. Instead, use one the methods listed below to pre-
shape the wood; fasten it after it has "set" and holds the
shape by itself.
First of all, you'll have better luck if you chose your stock
so that the grain runs lengthwise (I've frequently found
commercial strips to be severely cross-grained at some point,
perhaps with the grain running as much as 45 degrees to the
length -- this is often because the strip was cut from a board
near a knot).
A thick or complicated shape may be easiest to form by carving
it from the solid -- perhaps laminating the solid from a number
of pieces so the grain tends to follow the final curve (I use
this technique for sailing ship head-rails, which can be a half-
circle in some cases).
You can also laminate a piece from a number of thinner pieces
bent to a former -- the thinner the individual wood pieces, the
easier they are to bend, an the necessary thickness is achieved
by gluing these side-to-side over a form...the result will hold
it's shape when it's removed from the form. (This method is
frequently used to make "mast hoops" by wrapping a glue-coated
plane-shaving around a waxed dowel and then slicing off the
hoops when it has dried.)
Wood can also be bent more easily if it is wet or hot or both.
Simply soaking a strip in water will make it more pliable. If
you then bend it to shape, and let it dry out it will "spring"
back only a small amount. Hot water works better than cold.
Wood is a "plastic" material, and thus can be deformed under
heat or as a result of chemical softening.
Many people use household ammonia for this purpose (instead of
soaking in water) -- if you can bear the smell. It may also
discolor some woods.
You can also hold the strip over a kettle and steam it. The
trouble with this is that thin strips cool off so fast that
you'll end up working with cold, wet wood by the time you get
it in place.
For reasonably thick work, such as deck beams, I've had some
success either wrapping the stock in wet rags, or floating it
in a dish of water, and then microwaving it for about a minute.
It's relatively easy to wrap planks around a hull. it's much
harder to bend them sideways (i.e., give them an "edge-set").
For some places where I need a plank bent edge-wise (e.g.,
railings), I find it easier to take a WIDE piece of stock whose
thickness is the final width, and bend this piece to shape. I
then saw curved planks from the edge.
Do not use these methods on multi-layer board (e.g., plywood).
Water soaks the glue and causes the board to warp or split.
The best way to bend boards is to score the "inside" curve and
build a jig.
You can also get a good job with the plank-forming pliers and
bending jig from Micro-Mark. Jig is adjustable. Using a plank
bender without heating or soaking the wood will likely just
fracture the wood.
(This includes suggestions from: Chris Maxfield, Clayton A.
Feldman, Rich Gortatowsky, Ron Ginger, Trevor Farrell,
PKAeronaut, Jack Silvia, and Keath Wong.)
MORE---
***In bending planks, I use an old soldering iron I got over
twenty years ago.
It no longer has a label, so I don't know what the wattage is,
but the barrel that holds the nib is about 3/4 of an inch in
diameter and the nib is about 1/2 inch, and I suspect it runs
about 40 watts. I think it might have been used for automotive
body work, but don't know for sure. Scrounge the yard sales
and flea markets...
I find it works better than a plank bender, because a plank
bender, at least the ones I've seen, works the arc in the plank
while holding the plane of the width of the plank constant.
This gives you a nice curve for a plank that would lie on the
hull all in a horizontal plane, but hull planks usually sweep
up in addition to curving toward the bow and stern. With the
soldering iron, I can form both curves at the same time.
Here's the steps I go through:
1 - Cut the bow and stern taper in 4 planks, leaving them about
4 inches (2 on each end) longer than they need to be on the
hull. You use the extra to give you something to hold onto
while you bend them and install them. Cut them in pairs, one
for each side of the hull.
2 - Float them in a soaking tray, (a piece of 4" or 6" PVC
capped on both ends, then cut longitudinally in half works
well for this) for about a half hour. Flip the planks over
and soak for about 15 minutes more. Pay attention to which
planks form a pair. Plain, warm water works fine. For some
woods adding ammonia helps, for others it makes them more
brittle.
3 - While you're waiting, cut two more planks and set them
aside, clamp the soldering iron in a bench vice (by the handle)
so its sticking straight up, and plug it in to heat.
4 - Work the flat of a plank against the side of the nib holder
of the soldering iron, stretching it and pulling it into shape.
For one side of the hull, use the side of the iron opposite to
you and pull the bend toward you and up, for the other, use the
side nearest you and work the bend away from you and up.
Remember that the bends need to be mirror images of one
another. Work fairly quickly, and pay attention to how dry
the wood is getting. If it dries out completely, it will
discolor or burn. Feel free to dunk it into the water if it
does begin to dry out too much. What you're doing is making
steam that penetrates the wood, pulling it into shape, and
cooking the water back out again.
5 - Once you have it close to shape, you can install it on
the hull.
6 - Between installing the first and second planks, put two
more into the soaking tray, and cut two more and set them
aside. Installing two planks, while two planks are new in
the soak tray, seems to work well relative to the timing of
the soak. Just keep track of which are new. You should
have 4 in the tray all the time you're working.
7 - I've been using a cryo based glue (Krazy glue, wood &
leather) as my working glue, and it doesn't seem to care if
there is still a little moisture in the wood. A day later, I
reinforce the joints between the bulkheads and planks with
carpenters (Elmer's yellow) for as many strakes as I can reach
before the sides meet the deck. I've got two hulls I did
in 1986 that don't show any signs of separating, even at the
strakes that are held only by cryo, but who knows how they'll
look 100 years from now. I also 'nail' my hulls though, so
that may also be helping to hold them together.
8 - Keep repeating the process from step 4 until you get bored
or tired. Then call it quits. When you do, clamp the keel
into a keel clamp to make sure it doesn't bend while the wood
finishes drying.
Note: The important message here is work one plank on each
side of the hull at a time, even if you're doing the second
layer of a double planked hull. Once the planks are fastened
to the bulkheads or inner hull, their environment is different
from wherever you were storing them. They change shape and
try to straighten back out. Wood is an imperfect medium, so
you can't control the shape change. Working port, then
starboard, with the help of a keel clamp, tends to average
the stresses out by the time you reach the gunnels. You can
hide a slightly bent keel, when the distortion is side to side,
when you mount the model, but if you hog the hull, there's no
way to hide it.
Note 2 (for beginners): A keel clamp is fairly easy to make.
Get some oak flooring, 2" wide and longer then your hull
length, and drill holes about 1/2 of an inch from one edge, so
you can put 1/4-20 bolts through and clamp the boards together.
Slip your keel in along the opposite edge, between the oak
boards. Tighten the nuts down and let it sit overnight. If
you want to get fancy, and have a much easier time rigging,
you can rig a stand to one side of the clamp so you can hold
the finished hull in a bench vice while you're doing the deck
houses and rigging.
***Another easy way is to heat up an old style electric
soldering iron, clamp it vertically in a vise, and bend your
hot water soaked planking strips around it, moving the strip
slowly into the curve you need with second or two of contact
at each mm along the way. Experiment with a bit of scrap to
determine the correct contact time for bending and before
scorching. (Clayton A. Feldman, MD)
***This method can certainly be used - but you had better not
try to use the soldering iron for soldering afterwards! I found
that my iron was covered with a sooty residue after bending
planks (of course, the iron may have been too hot. An iron on
which you could regulate the temperature would be the best for
the purpose.)
Anyway, the point is that wood can be bent using heat, and
water will keep it from scorching. You can also use live steam
to bend planks, as a lot of modellers do, but it would involve
a bit of gear (heater, water container etc) and I guess you
could easily get burnt. What I like about the water/candle
method is that it doesn't involve a lot of equipment - and you
don't have to have an electrical outlet within arm's reach.
(Staale Sannerud)
***I just use the 100w light bulb on my bench lamp...it's
plenty hot for stripwood. (John Kopf)
***I used to attend the very active Alberta Ship Modellers'
Society meetings and the modellers have two methods.
1. Use a (.5in or .75in dia) copper pipe to contain the plank
strips and run live steam from a kettle through the pipe. Pin
planks to hull formers until dry then glue.
2. Soak the planks in laundry ammonia to soften them. You will
have to do this in the garage or outdoors on account of the
stink. (Peng F. Mok)
***I find that the candle-and-water technique I have mentioned
earlier on this group works well - I basically first bend the
planks one way for sheer and then bend it the other way to lie
against the frames - it takes time, though:)
I would guess that any bending technique can be applied in
this manner: First sheer, and then the other way. If you use
steam, I guess the whole plank will become wet and flexible -
pin it in place while it dries and it should fit pretty well
when it dries! Anyway. the important thing is to make the
plank fit naturally in place, so the pins and glue don't have
to force it to keep in place!
Different woods behave differently, too. I used obeche for
wales on my Neptunus model (80 guns, 1789) and I found that it
was much easier to bend and handle than pine, not to mention
balsa. If the planks on the Golden Hind won't behave, you might
consider buying planks of a different wood and using them
instead - it is available if you know where to look.
(Staale Sannerud)
***Several years ago Philips made a travel steamer; a small
hand held container which you fill with water. Plug it in and
steam comes out of a row of small holes. The steam issued at a
high temperature and with a bit of pressure. The purpose of
the device was to steam the wrinkles out of clothing when
traveling.
I found that the row of steam holes was just right for ship
model planks. A few moments in front of the device and you can
bend a plank to fit any stern curve. Hold the curve until the
wood cools, let the plank dry, and then glue it in.
There must be similar units on the market now. (Dan Johnston)

22. I am building a solid hull ship; the kit comes with paper
cut-out templates to check the hull shape.
Will these paper templates suffice to check out the shape or
is it intended that one should use the templates to cut out
balsa templates?
A: Typically, the paper templates are too flimsy to use to
accurately verify the shape of the hull. It is better to copy
their pattern to a stiffer cardboard or poster board. You can
also use these patterns to make a stand to keep your model in
while you work on it, and also to make a nice permanent stand
for the finished model.
Ideally, getting a copy of the original ships plans, and
creating patterns from the ships lines is the best. Many people
abandon the solid hull that came with the kit, and create their
own plank-on-frame/plank-on-bulkhead hull (deviating from the
kit in an attempt to create a more accurate/appealing model is
quite a common practice among ship modelers). (Monica Chaban)
***I usually mount paper templates on some sort of card stock,
adding stripwood as needed to stiffen the body.
( Kurt (Seaphoto) )
***IMHO stiff white cardboard has the minimal stiffness and
durability for hull templates. Mattboard found in art supply
shops for matting pictures would be ideal.
You would, for example, fix the printed template patterns to
the mattboard with rubber cement (not water-based glue) and
cut as close to the line as you dare with a fine fretsaw or
power jigsaw, then clean it up with sandpaper to the line.
Some hull section diagrams are printed in such a way that you
might need the additional step of tracing them with high
quality tracing paper (also from your art supply shop) and
then cementing the traced pattern onto cardboard. (Septimus)
***...good quality card (file folder stock, etc.) stock (or
thin sheet styrene, or even metal, such as stock from aluminum
soda cans), and trim that to shape.
A good idea is to block up the hull so the waterline *or* keel
is level, and then cut a "tab" on the pattern so it can sit
using the table as a reference plane...that's more work, but
it's also more accurate than trying to fit the pattern to the
hull at the keel and shear line only. (John Kopf)
***Even better for templates is 1/64" thick aircraft ply. The
rubber cement and cut-out process is just as described above.
It's very durable. (Clay Feldman)
***Regardless, Use something with a bit more stiffness than
paper. Even 'shirt cardboard' works. The pointer about adding
'tabs' which would permit setting all to a horizontal waterline
is very useful. Try to keep the working edge of the template
as thin as possible while retaining the necessary rigidity.
(RAIcorn824)
***...The plywood works great as it is strong and stiff. The
balsa has a tendency to be soft when pressed against the hull
to check on dimensions. (David Loseke)
***If you're transferring the pattern to thin aircraft plywood,
make a Xerox, lay it face down on the wood and wipe the back
with gasoline or another serious thinner in a rag. (Don't
smoke while you're doing this.) The right amount of soaking
and pressure will transfer the Xerox powder to the wood.
(Burl Burlingame)
***don't use gasoline for anything except motor fuel. A
friend of my sons was burned to death while cleaning dirt bike
parts in a can of gasoline. The spark that ignited the vapor
was over 20 feet away.
A safer method is to heat transfer it. Place the paper on the
wood, with the toner against the wood and iron it with a normal
clothes iron, set to a high temp. Hold the iron on for a few
seconds, then peel the paper off.
Sometimes this will cause the wood to develop a curve - if you
heat only one side of it, so also iron the back side of the
wood and it will flatten out.
There are special toners made to transfer easily, but the
standard stuff of a copy machine or laser printer works fine.
(Ron Ginger)
***Actually, ball-point pen works well too...put your drawing
ink-side down onto the wood and iron the ink into it.
(John Kopf)

23. I'm a little mystified by the process of cutting the bevel(s)
on a bulkhead or frame of a wooden ship model?
A: Good plans will have three views -- the "plan" (top view),
profile (side), and "section" (slices through the hull
perpendicular to the other two).
From the section view, trace the horizontal and vertical lines
that correspond to the water- and "buttock" lines.
On the plan and profile views, draw a pair of lines that
correspond to the front and back edge of the bulkhead or frame.
Using dividers, transfer each intersection between the drawn
lines and the water lines and buttock lines to the drawing;
fair these up with a smooth curve. You'll now have a single
drawing of the bulkhead showing BOTH the front and back edges.
Glue this to the wood, and saw to the outside line. Now bevel
from the back (*outside*) to the front at the *inner* line --
the bevels are now complete, and it can be put into place.
(John Kopf)
***Yes, several methods are available.. First, obtain a copy
of Underhill's book "Plank on Frame Models", volume 1.
Second, get / buy / make about a dozen 'battens' approximately
10% or even 15% longer than the hull length. Take the first
batten (actually a pair) tack one end to the stem and the other
to the stern, "wherever it fits", providing the midships
section was parallel to your datum line. Take note of the
difference in contact with the 'frame' (actually bulkhead).
Now divide the spaces and insert additional battens. In a very
short time, you will see a pattern developing - the side of the
frame closest to the maximum hull dimension will show maximum
contact with the batten, and there will be a gap fore or aft.
At this point you have a couple of choices: shave down the high
spots on the bulkheads or build up the low spots. (Either will
be a compromise!) What you are shooting for is a batten (or
fairing strip, or whatever you choose to call it) making *solid
contact* along the 'face' of each bulkhead the entire length of
the vessel. In any case, with the exception of the 'dead flat'
(read more about lofting if the term is unknown), the edge
surfaces of the bulkheads should never be parallel to the
longitudinal axis of the vessel (unless you are building a coal
or garbage barge). Repeating myself, but Underhill's book
provides probably the most lucid description ever written for
modellers on how to cope with the thickness of frames/bulkheads.
(RAIcorn824)

24. What is accurizing?
A: Accurizing is the achievement of a level of detailing and
accuracy which the model kit does not provide. In most cases,
it means things like:
- Drilling out all the openings and gun barrels
- Making thin parts thin (aircraft cowl flaps, tank fenders,
ship railings, etc.)
- Getting square shapes square and round shapes round (this is
harder than you would think)
- Getting dimensions right, even if it means scratchbuilding
95% of the model (rare but there are times when it is the
only way)
- Getting angles and proportions right
- Getting surface detail right (with tanks and ships, this
means adding nuts, bolts, and rivets; with aircraft and
cars, taking them off) (Cookie Sewell)
***Basically, accurization kits attempt (and usually succeed)
at correcting some deficiency in the injected styrene kit. In
some cases, the accurization kit is maybe a bit of resin or two
and some photo-etch. For instance I've bought a DML
accurization kit for M-48/M-60 tanks that fits this description.
In the realm of photo-etch this usually makes a lot of sense.
Replicating sheet metal vents in 1/72 or even 1/35 in injected
styrene is all but impossible.
When large amounts of resin gets involved, the accurization
kit is tackling a much more ambitious problem with the kit. A
woefully inaccurate profile of an aircraft nose, or totally
incorrect pairing of turret with tank chassis (for a particular
variant).
The only problem with these accurization kits is that most of
them are as expensive as the original kit. So in a measure of
accurization, you can easily double the price you pay for
building a particular kit. I'm not claiming that accuracy
isn't a good thing. Its just that I built more models per year
when I just built things out of the box. Admittedly, what I
was building were starships made by a company that only
believes in making toys, not accurate replicas.
(Andrew Madison)

John O. Kopf

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Last-modified: 22 June 2001

This is the Frequently Asked Questions FAQ (part 05) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###############################################

14. What woods are recommended?

A: A large variety of woods exist...some of these are useful for
ship models:
apple - good for planking...bends easily
balsa - TOO SOFT for ship model use! (At least on
surfaces; occasionally useful for "spacers"
used internally.)
bamboo - tough, easily split; used for trunnels, etc.
basswood - soft but readily available
boxwood - the best for find detail carving
cherry - fairly common, fine grain, somewhat brittle
clear pine - for bread-and-butter hulls
degama - good for masts and spars
ebony - Black! very hard and brittle, doesn't bend
easily
holly - White! good for decking, carving
pear - works like cherry but brown instead of red,
and not brittle.

ANY wood can be stained to look like ebony using black india
ink as a stain. (John O. Kopf)

***At some point you are going to substitute the relatively
soft, weak wood strips supplied in the kit with very dense,
close-grained exotic hardwoods like pearwood, boxwood,
lancewood, and applewood. The kit producers will furnish you
with basswood because it is commercially available and not very
costly. Don't feel badly about upgrading or adding to the
materials supplied in the kit. (Septimus)

***For historic ship modeling purposes I would recommend any
woods that are hard and have a close or tight grain. I would
rate boxwood, apple and pear in that category. Cherry, gum and
maple are also good but not as hard as the first three
mentioned. Basswood is a very stable wood but does not finish
well. I have seen Tangyanka and have had no experience in
working with it but from all appearances, I think I'll leave it
alone as the other woods that I have mentioned allow an
excellent color range, are easily worked and finish well.
Have you considered hornbeam, often called ironwood? It has a
straight to sometimes irregular grain and has no visible figure.
The texture is hard, heavy and with a compact structure. Color
is silvery white. It can be worked into small delicate parts
and can be carved to very sharp detail. It takes a beautiful
polished finish. Price is usually less than holly or boxwood.
(Dana McCalip)

***I second the recommendation for maple - rock or sugar maple.
I planked the hull and deck of Kate Cory with it. It will take
aqueous aniline dyes very well - glues well - is very hard -
one of the hardest domestic woods. The figure will vary with
the angle of the cut. It is tight grained - no open pores to
fill. It is significantly harder than fruit wood or cherry. I
have used sycamore (buttonwood) and do not like it -too fuzzy-
prominent figure and stinks when cut. When the English write
about sycamore (Undersell) they are describing a tree in the
maple family I believe. (Dean Warden)

***If you're reading this with a browser, check out:
http://www.Naut-Res-Guild.org/lumbwood.html . (John Kopf)

15. I have a chance to harvest my own wood; how do I do it?

A: Many of the trees and shrubs found around your home can be used
used in shipmodeling; any of the fruit woods (apple, cherry,
pear, etc.) are useful, as are some ornamental plants such as
boxwood, dogwood, holly, and hawthorn.
Start by cutting the wood into manageable lengths - 2-3 feet is
reasonable.
Remove ALL the bark and the cambrium layer underneath; these
are havens for grubs which bore tunnels into the wood. Chisels
and a drawknife are handy here.
Split each piece down the middle - the wood as it dries will
shrink more along the circumference than radially; splitting
will help avoid the formation of large, radial "tension" cracks.
If there is decay at the center (apple trunks are frequently
hollow), remove this as well.
Paint the ends with wax or paint to inhibit moisture loss -
the will reduce end "checking" (this is a good use for those
old partial cans of paint that were saved for touch-up on the
house).
If you have different types of wood, mark each piece with the
species so you'll remember what you have when you are ready to
begin sawing.
Stack the wood somewhere out of the weather to season; put
"stickers" (1" strips of wood) between the pieces so that air
can circulate freely around the pieces. A good rule of thumb is
to allow 1 year per inch of thickness for air drying.
When thoroughly seasoned, saw the wood into planks or billets;
a bandsaw is useful for this.
Note: seasoning will frequently cause trunks to twist somewhat,
and branches to bend. (John O. Kopf)

***I can relate to you how I do it. First, the wood must be sawn
into slabs. Next if you do not have access to a kiln, you can do
the following: Starting with a base of some type of wood slats
(stickers) a little longer than the slabs, place a layer of wood
to be dried. Then another layer of stcikers, then another layer
of wood to be dried. Do this until you have all of the wood to
be dried, stacked and layered. This should be done inside. Make
sure (very important) that the stickers are directly beneath each
end of the stack. This is to help prevent the ends from
splitting.
Space the stickers at various points along the stack so no
warping or sagging will occur. I then place a weight of some kind
on top of the stack to help prevent warpage. It will take on the
average 3-6 months for the wood to dry. depending on the heat
available. More heat, less time to dry. Checking the stack
periodically is also a good idea. Sometimes the stickers get
moved around, so the ends of the slabs have no support under
them...Regular run of the mill saws will work for modeling
wood. Just be a bit careful when sawing the round pieces into
slabs. Sometimes you get some fun things going on while doing
that.... (Cody Hart)

***A large band saw is best for preparing billets for curing.
The logs should be squared by cutting slabs from four sides.
Then, depending how large the logs are, cut billets from 2 to
4 inches thick. Then stack these billets in a staggared fashion,
such that there is an air space around all four sides. This
stack should be indoors, protected from rain, etc., and allowed
to cure for a couple of years. The billet ends should be coated
with protective wax substance to slow down the checking tendancy
of the wood. Once the wood has reached desired dryness, you will
need a thickness sander, table saw, band saw, jointer, depending
on what you want to do. For example, you could cut a thin slab
off a billet with a bandsaw, then run the slab through a
thickness sander, dressing both sides untill desired thickness
is reached, say 1/16" or 3/64". If you run the billet over a
jointer first, you can save a number of passes through the
thickness sander, because one side will be smooth and flat.
Then with small table saw, rip planks to desired width. There
are many ways to arrive at the same end. Unless you are into
woodworking, you can buy custom milled model lumber for a lot
less than the cost of all the machinery, plus the learning curve
on using the machines. (Phil Krol)

***Based on my experiences, I offer the following advice:
Seal the end grain - butt ends and knot ends
Get the bark off. It causes problems with insects and drying.
Get it into billets as soon as possible.
Do as much quarter sawing as is practical - it does not rack as
much as it dries.
Use a chain saw if necessary to get the butt to a manageable
thickness.
A band saw is best for producing billets.
Round logs are difficult to cut into parallel planes - use
pinch dogs or nails to secure the log to a carrier board - to
slide on the saw table. It also needs a square edge to slide
along the fence. You can sacrifice the carrier to the saw blade
until the metal clamping comes into play.
The thickness of your raw stock will be dictated by the
clearance of the throat of the saw minus the thickness of the
carrier board.
Wet apple is prone to fungus attack and will split badly as
well as end check - I recommend a thickness of 1 inch max on
billets. The longer you wait the less usable wood. Properly
stacked, 1 inch should be ready to use in a year. (Dean Warden)

***If you're looking at the FAQ with a browser, also check out:
http://www.Naut-Res-Guild.org/lumbmill.html . (John O. Kopf)

16. What is the right glue to use?

A. Boy, you folks sure know how to pick good subjects. I think
the discussion about glue will be like telling someone which
motor oil to use or which person to marry :-).
There is a huge range of adhesives available to us, even if
we just stick to the ones sold for hobby use (I did a quick
inventory and I have 9 different kinds). I'm not sure what
all the concerns are for "museum quality" models, but the
typical model, even an RC boat that is frequently in the
water, is generally in a fairly benign environment. Here are
some of the things I consider when picking the right glue:
o What is the direction and nature of the load on the joint.
Is the joint loaded in peel, tension or shear? Is the load
per unit area of the joint high or low? Is the load constant
or cyclical over time; is there vibration or shock?
o What is the temperature range? This might surprise you.
A model left in a car in Tucson, AZ in the summer could see
150 degrees F. One left in an unheated area in Alaska might
see -30 degrees F. Does the temperature cycle from hot to
cold in a short or long time.
o What is the humidity range? This one is relatively easy,
assume 100% non-condensing humidity for most static indoor
environments.
o What is the nature of the objects to be bonded: porous,
non-porous, wicking, rigidity, slick, rough, the same or
drastically different?
o Is the bond line visible or hidden?
o How fast do I need the bond to set and/or cure?
o How thick is the bond line? (This one is very important)
I think the original question was about bonding wood to
wood, but in the completion of any model there are typically
lots of different materials to be joined. Even for wood to
wood, one could pick several different glues depending on the
nature of the joint. For my Typhoon, I used 5 minute epoxy
for the motor mount parts and thick or thin CA for most of
the rest. I'll probably use the epoxy for gluing the pin type
joints for most of the deck hardware (windshield posts,
vents, step plates, etc) These bond lines are probably
relatively thick and there is a large coefficient of thermal
expansion difference between the materials, which requires a
bit of flexibility in the bond lines.
As far as longevity goes, the environment plays a huge part
in this, regardless of what glue is used. My opinion is that
most of the good quality CAs will last a long, long time in
this application. FYI, violins are assembled with hide glue,
and some of these might go more than a hundred years without
failure of a bond. I imagine nearly everyone would think that
hide glue is terribly old fashioned and unreliable. Hide
glue is used so that with the proper application of moisture
and heat, the violin may be disassembled for repair.
One might also ask the same questions of other materials in
the model, especially the paint used.
This is a fun area to deal with and one that for me evolves
all the time as I learn about materials. Everyone gets to do
a bit of engineering!! (John Witt)

17. A friend of mine told me that CA glues (superglues, Zap-A-Gap,
etc.) will severely weaken their bonds over time and may
eventually turn to white powder. Can anyone out there confirm
or deny the above statement?

A. I remember a similar scare back in 1968 when I was getting back
into models after college - Krazy Glue hadn't appeared on the
market yet. A local hobby shop was importing the first CA we'd
seen from Japan (Pearl Chemical). The rumor started that it
would only last a year, so many of us went back to epoxies etc.
The rumor was finally discredited and we returned to CA. I used
it mostly on metal military miniatures and plastic armor all
of which were completely painted - and they are still in one
piece. I've known it to fail if you put it on too thick or on
an unprepared dirty surface as and put a lot of stress on the
fix. I've also tried to open a tight joint with acetone solvent
with limited success. The stuff does seem to last. It would be
interesting to get a chemists opinion. (V. L. Kraut)

***Regarding CYA's. I am a coatings chemist that uses CYA's
frequently. Couple of points to remember about CYA's is that
they are soluble in many organic solvents (acetone, methanol)
and WATER. Also, if the glue is cured to quickly (by using too
much "accelerator") the heat generated will cause the glue to
foam and reduce its strength. I have had CYA joints exposed
to methanol glow fuels fail, but I have never seen the glues I
have used degrade over time. However, it is very possible that
years of high humidity, sunlight, or solvent exposure could
destroy CYA. (Dave Seuferling)

***I've got two ship models, wood, plank on bulkhead, that I
put together in the winter of 1982-83. I used regular Crazy
Glue on both and reinforced the joints between the bulkheads
and strakes with white glue. All the rest of the glue joints
were strictly Crazy Glue. No joints have separated so far, and
neither of the models are in a glass case, so they are exposed
to whatever the ambient room conditions are. I used the same
glue on a double planked hull, still far from finished, and one
outer layer strake has separated at the bow (no big deal to fix
it).
Two out of three of the above hulls have extreme compound
curves at both bow and stern, so the joints had to have been
under some stress, even though I hot bent them during
construction.
I have a fourth that I started in 84 and am still working on
that I used Crazy Glue - wood and leather on. The hull is
fully nailed (2000+ nails), so even if the glue lets go, I
don't think the planks are going anywhere. This version of
Crazy Glue turned out to be a lot better to work with than
the original. It's a bit thicker, so its more forgiving about
slight gaps or irregularities in the joints, takes a bit longer
to set up so tricky pieces can be coaxed into place a bit
easier than the "instant" bond of the original allowed.
Even if you don't want to use it as a construction glue, one
place this stuff really shines is in threading small blocks
when you're doing the rigging and setting the knots and
fastenings to belaying pins and cleats. A bit of glue on the
end of a piece of string firms it up so it becomes its own
needle. A long diagonal cut through the glued string creates a
very fine point, and passing the string through the tiny hole
in a block is no problem at all. Rat lines and other knotted
crossings of lines stay put if you dab a bit of glue on them,
and if you use the original formula for this purpose, it
disappears completely into the thread. The W&L formula
sometime stays visible if you use too much.
Be aware that some shops that sell models don't accept cryo
based glues though, so if you're building to market, check with
the shop before you spend a lot of time building a boat they
won't want. (Jack Silvia)

***One thing I have noticed is that a lot of people are claiming
to have built models of various types using CA adhesives that
are 20 years old and aren't falling apart.
One thing that HAS become more prevalent in the use of CA
Adhesives is the use of "accelerators" and "ZIP Kickers" with
the slower curing varieties of CA. This can produce quite
different results than the traditional methods of using CA.
The availability of accelerators has also allowed people to use
CA as a filler as well as an adhesive.
Problems can occur when an accelerator is used on a thick
application of CA. The accelerator can instantly cure the
SURFACE of the application, but the center stays liquid, and
MAY not be able to cure properly if the surface hardening
completely seals the center off from air. This results in a
soft core that may never fully cure, and is not structurally
sound as an adhesive.
I ran into this when I used CA to fill all of the windows in a
Heller 1/72 Constellation in order to convert it to a C/EC-121.
Some of the windows fills retained a "bubble" of uncured CA.
It is better to do this type of operation in multiple thin
applications, than trying to do it in one thicker one and use
accelerator!
I wonder how many CA problems are related to the one I had!
Hopefully, we all learn from our mistakes. (Steve Kennedy)

***I've recently had a very strange experience with them that
has me baffled, and I'd like to learn how to not repeat it....
A couple of days ago, I was coating the interiors of cardboard
model rocket tubes with CA in order to strengthen them. I was
using a store brand (I can give you the manufacturer if you
need it) that was a couple of months old. At first I was using
medium, but then I ran out and switched to thick. My finger
was covered with the stuff, and a bit after I switched to the
thick, I started feeling a sharp pain in that finger. I thought
it would go away, but it just getting stronger and stronger --
it started feeling like my finger was on fire.
I put my finger under water, which seemed to help. But a few
minutes after I would take my finger out of the water, the heat
would start coming back. The glue was too thick to wash off,
and not set enough to peel off, so my husband tried cleaning it
off with paint thinner. That hurt too much, so he got some
debonder, and eventually we got it all off, put some burn
medicine on, and wrapped my finger in a bandage. Everything
was fine after that....
I know it wasn't an allergic reaction because my husband got
some on his finger while he was cleaning me up, and he started
burning too. I also know that CA generates heat when it cures
-- but my husband didn't have that much on his finger.... So,
I was curious if you might have any ideas on what caused it to
burn so much? Do you think it might have been mixing the
medium and thick (both from the same manufacturer)??? Could it
have been the age of the stuff??? Or could it just have been
something with the brand???? Or could it have been the fact
that I had so much on my finger????
As I said, I'd like to avoid this in the future (and warn
others about it too), but unless I know what exactly happened,
there's not much that I could do that makes sense.....
(Paul & Victoria Heisner)

***CA was developed as a way to "stitch" wounds together fast
in the field, that's why you shouldn't get it on your fingers,
and the chemical reaction involved probably caused the burning
of your finger. In short, don't get it on your skin!
(Olaf Kievit)

***Bottom line -- Don't rely on a glue joint alone (ANY type
of glue)...PIN the pieces together as well (using screws,
nails, dowels, splines, etc., if at all possible.
Take care when using CA...it was originally developed as an
alternative to sutures in surgery.
However, it IS handy to have something set almost instantly...
I regularly use it in conjunction with other glues (white and
yellow) to tack pieces together until the "slow" glue can set
up -- instant clamps! (John O. Kopf)

***On the subject of super glues being dangerous, there is one
thing that you should watch out for. I learned this by
experience. If you are going to sand or shape the area of a
joint that you have sealed with any of the super glue types,
make sure you let it dry for a long time. On a few occasions,
not having been smart enough to learn from the first time, I
have attempted to sand or shape such an area with my Dremel tool.
The friction from the sanding bit actually turned pockets of
undried glue into a gas much like a tear gas. It burnt the
nose, throat, and eyes even through goggles. Effect lasted for
a good two minutes and I am sure could be much worse for some
people with allergies etc. Just a word of caution let it dry
well when doing this. (Tom Dean)

***One important point seems to be overlooked in the current
round of discussion, that is the heat given off by the glue as
it cures. A recent accident reminded me; I spilled some CA onto
my work table, then tried to mop it (carefully) with kitchen
paper. Of course I was instantly bonded to the paper (though
not to the table). The problem was the volume of glue versus
the amount of moisture available. Two of my fingers rapidly
heated up (there was smoke and acrid CA fumes!). I did not reach
the cold faucet fast enough, and received some small but painful
chemical burns.
I've been using the stuff for close to 20 years and this was
my first bad accident (I don't include all the times I became
glued to my ship model!). But beware, it could happen to you too!
I work in a museum where we use this glue a lot to repair
fossils! According to the safety literature we have, the glue
and its fumes are not considered toxic (it is not a good idea to
inhale), and the main dangers have to do with heat production
on contact with moisture. And I know people who have
successfully replaced a loose tooth crown with a drop of CA.
(John Maisey)

18. Need Help with (plastic) Submarine Model Building (Jamal Hannah)
(NOTE: this is actually a number of questions; these are shown
individually below along with their answers.)

Q. How do you keep the model glue from getting on your fingers
and then smearing on the model and ruining the visible surface
with marks?
Q1. How do you keep from putting an excessive amount of glue on
the model parts so you can avoid smearing, but still put on
enough to keep from having gaps in the model's seams?

A. These two questions have pretty much the same answer. Use
one of the thin solvent glues such as Tenax or Ambroid (there
are others too) which disappear into the seams via capillary
action. The trick is to apply the stuff with a small detail
brush. NEVER use the brush that comes in the bottle with some
of the glues. You might as well just pour the bottle over the
model with those brushes. The glue can also be applied using
a hypodermic syringe with a blunted needle. If the parts are
too small to hold without your fingers getting in the way, use
tweezers. If you goof and some of the glue gets under your
fingers and mars the model surface, DON'T try to fix it until
the plastic has completely re-hardened, even if you have to
let it dry for 12 to 24 hours. Then, buffing with 000 or 0000
steel wool will usually fix it without doing additional damage.
When joining the deck to the hull, or even when joining the two
hull halves, start at one end and slowly work your way to the
other, applying pressure to the just-glued part of the seam
until it sets up before proceeding down the line. This will
usually avoid gaps. However, very few models actually go
together cleanly right out of the box. Always dry fit the
parts and sand and file where necessary. If there are still
gaps after you're done, they can usually be filled with by
brushing in a little white glue. More drastic repairs can be
effected with Bondo glazing putty (comes in a tube) or gap-
filling cyanoacrylate glue.

Q2. What do you do if the model pieces fit together in slightly
"overlapping" manner? (I bought a Revell Monogram U-505 U-boat
model and the deck parts overlapped on the sides of the hull a
tiny bit, but in the photos on the side of the box, it doesn't
overlap at all)

A. If you dry fit the parts first, you can usually fix the
problem when it's still easy. Otherwise, simply scrape or sand
the overlap to the correct configuration. However, be wary
about using box art as a definitive reference. The paintings
are there to look dramatic, but they often have errors. Actual
photographs and scale drawings are the safest to go by.

Q3. Is it better to use spraypaint to paint the hull, or can one
use a brush and Testors paints and avoid brush-stroke marks?

A. The best way to paint is with an airbrush. If you don't have
one try to find spray cans formulated for plastic models.
Standard spray cans will apply the paint too thickly and
obscure fine details, and the solvents in some of them will
actually melt the plastic. You can probably get away with
using a brush to do a submarine because the paint quickly
flaked off and was degraded by salt and rust as soon as the sub
put to sea. In any event, use a good soft sable brush and thin
the paint. You're less likely to have brush marks if you apply
a couple or three thin coats of paint rather than one thick
one. Especially if using a brush, wash the model first to
remove all traces of the mold releasing agent. As for the
paint, I recommend waterbase acrylics rather than the solvent
base enamels such as Testors. Poly S is particularly good.

Q4. Is it possible to make your own decals so one can make a
version of a model that isn't the original version?

A. Although many after-market decals are available for airplane
models, there's practically nothing for ships. You can buy
decal sheets of numbers and letters at most hobby shops. As
for more unique markings, purchase clear decal film or white
decal film if the pattern you want includes white markings.
Next, you can make a small drawing or painting (or find a
photograph) and photo-reduce it in a copier and print it on the
decal film. Give the decal a light spray of varnish (such as
Krylon Matte Varnish), then cut and apply as usual. You can
also use a computer and laser printer to make the decals. For
color, use a color copier or a color printer.

Q5. Where can I get diagrams and pictures of various U-boats and
US WWII subs so I know exactly how to construct and paint a
particular model? (Gato, Balao, and VII-C classes)

A. First off, surf the Internet. There are many submarine and
naval history sites. There is even a U-boat Net. The ANATOMY
OF THE SHIP series includes a volume with every detail of the
Type VII U-boat. THE U-BOAT by Eberhard Rossler covers the
entire history of the U-boat with extensive photographs and
detail drawings. U.S. SUBMARINES THROUGH 1945 by Norman
Friedman does the same with American submarines. Both are
available from the Naval Institute Press. There are many many
other books that have useful photographs and operational
histories of submarines. There is also an organization in
Florida called SHARKHUNTERS, which is dedicated to the WWII
history of the U-boat. Do the research, it's half the fun.
The two TAUTOG versions I made from the Revell LIONFISH model
required changing the Balao class submarine into a Tambor class.
Luckily, the hulls are similar, but the conning tower is
inaccurate for any sub, including the Lionfish! Also, the kit
guns are a joke. Some after market parts are available in
photoetched brass and white metal, but I generally prefer to
fabricate my own. (Kenneth H. Goldman)

***Lurk over on news:alt.binaries.pictures.military - that's a
newsgroup for posting pictures (primarily modern navy) of ships.
John O. Kopf)

John O. Kopf

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Sep 22, 2001, 7:10:56 AM9/22/01

Archive-name: ship-models-faq/part07
Rec-models-scale-archive-name: Ship_Modeling_FAQ/part07

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Last-modified: 22 June 2001

This is the Frequently Asked Questions FAQ (part 07) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###############################################

25. I've got a 1/350 IJN Yamato that I am redoing to match a
different configuration than that provided by Tamiya. This
involves hacking out a half-dozen gun tubs and restoring the
deck. Unfortunately, Tamiya saw fit to build the deck in two
pieces and to place parallel ridges in the deck area where the
original was wooden.
This leaves me with problem of somehow adding ridges to the
areas where I am restoring the deck, and trying to make the
ridges match seamlessly across the spot where the deck halves
join, or to somehow remove all those ridges (which would
probably not be visible in reality anyway).
My questions are:
Does anyone have experience with or suggestions for restoring
such ridges?
or:
What is the best way to remove them without damaging the rest
of the details? (Some of the wooden deck area is located down
behind various superstructure elements and would be extremely
difficult to reach.) (Robert Robinson)

A: If it were me I would do the whole deck in brass!!!!!!!.
(Mike Bishop)

***1. Since the ridges are supposed to simulate the space
between wooden deck slats, sand down the ridges and scribe
the cracks. Plan to finish sometime after 2000 AD. [Y2K
bug!!!! - this was written years ago! Ed.]
2. Use very thin stretched sprue or invisible thread. Use CA
glue sparingly to stick the thread down where the ridge
was removed.
3. Use progressively finer grades of sandpaper to remove all
ridges. After painting the deck, use a straightedge and
a very fine technical pen to draw the slots. (Bob Marek)

***I'm doing a Montana and replaced the deck with evergreen
scribed sheet. This can be found at railroad hobby shops.
It's used to make wooden buildings from scratch. Find the
sheets with the narrowest scribing. You won't find it's to
scale but looks pretty good. (SALT 6)

***An interesting idea I've tried with startling results...
Replace the entire deck with real wood.
Model Railroad shops sell scribed basswood sheet that can
easily be cut to fit the hull. Cut the superstructure components
from the model's deck and cement them onto the new deck. Many
of the smaller deck details will have to be scratchbuilt, but
if you're already doing a major conversion this implies you
have the skills necessary.
Before the new deck is glued in place it should be antique
stained. Then give it a coat of tung oil. You will be pleased.
(Dave Wilke)

***Try adding a bit of green and or grey to deck tans. Teak
bleached in the sun fades like anything else. I've seen
elaborate masking jobs painting alternate planks in various
shades of the same base color, but I've never been up to that
task. Dry brushing and washes for raised or recessed details
with black or black/green is my staple but does leave much to
be desired. (Gary Newman)

26. How do I carve a solid (or bread and butter) hull?

A: The following reply is from William E. Boebert:
1. Background
This message is in response to the question on the list about
how to carve a hull, which I think is not only an important
skill, but also an excellent way to develop "an eye for a ship,"
that is, an intuition for the form of a hull. The technique I
will describe was taught me by a pattern maker and master model
builder many years ago. It's one of those things that is a
lot easier to grasp by watching and doing than to describe in
words. I'll do my best, not with the idea of showing off or
proposing a frustratingly high standard of craftsmanship, but
rather in the hope that it may help others turn what appears
at first to be a daunting task into one of great enjoyment.
This being the Net, I am sure that others with more experience
will chip in (pun intended) and the different viewpoints and
discussions will be of even greater help. My experience is
almost exclusively in carving "yacht-like" hull forms, but the
technique should be of interest to carvers of "ship-like" hulls.
(Well, maybe not supertankers, but certainly clipper ships.)
2. Laying Out
I will assume that you are starting with a typical "precarved"
hull. I haven't looked at one of these in a long time, but I
doubt that they have changed much: just a block of wood that
has been hogged out by an automatic carving machine to a rough
form around 1/8" to 1/4" larger in all dimensions from the
final shape.
The first step is laying out a set of reference lines to use
in forming the final shape. This is the first place to make
a significant error (been there, done that, got the firewood
to prove it). If you carve to a wrongly placed set of
reference lines you can find yourself "running out of wood"
somewhere along the line. If you visualize the final shape
as a kind of phantom hull lurking inside that block, to be
uncovered by carving away. You want that phantom to be in the
middle, so that there is roughly an even amount of wood to be
removed all around. Since you are carving from the outside
in, if you place your patterns incorrectly you will be
defining a phantom that is too high, or too low, or cocked
at an angle (my favorite mistake) and there won't be enough
wood left around it to produce the proper shape.
To draw these lines I prefer the Micron Pigma line of
drawing pens that are sold in most art supply stores. These
lay a very fine line with little or now pressure required.
To position the lines you will need three things: a flat
surface, a clamp or cradle to hold the block upside down, and
a simple surface gauge. The flat surface can be any table or
workbench. I find it is best to make a special clamp to hold
the hull rather than jury-rigging something from C clamps or
carpenter's clamps. The clamp should be capable of holding
the hull inverted, on the flat surface, with the waterline
horizontal. The surface gauge is just a block with a
vertical piece of wood to which one of the pens can be
clamped with a miniature C clamp.
The first line to draw is the centerline, which will run
down the deck and along the keel line. A flexible plastic
ruler helps here. When you have the centerline drawn all
around the hull, check against the plan (top) view with
calipers to make sure it is truly centered. Place the hull in
the clamp and sight both stem and stern along the tabletop.
The lines should be vertical; if they aren't, you have the
keel line offset from the deck centerline. Sand the errant
line gently away and redraw.
Now the most important line, which is the load water line
(LWL). Lay the block on the profile (side) view, position so
there appears to be the same amount of excess top and bottom,
and mark the LWL on the stem and stern. Put the hull inverted
in the clamp, and clamp the marking pen on the surface gauge
at about the height of the LWL off the table. By a combination
of rocking the hull in the clamp and adjusting the height of
the marking pen, arrange things so that a) both the stem and
the stern marks are the same height above the table and b)
the pen is at that height. Then gently draw the LWL by running
the surface gauge around the hull. Don't worry if you don't
get a continuous line; you can fill in the gaps using the
flexible ruler. Sight both stem and stern; the centerlines
and waterline should be sitting nicely at right angles to each
other. (Stopping periodically to admire one's work is
allowed and even encouraged :-))
Now check the position of the LWL against the profile
drawing with calipers. At various points along the plan, set
the calipers to the vertical distance from the LWL to the
sheer (deck) line. Then go to the same place on the hull and
make sure that there is wood to spare above the sheer line.
Perform the same checks with the lower profile line. As
before, if it doesn't work out, erase the LWL with a little
light sanding and redraw per instructions above.
Before we get to the last set of reference lines I have to
explain the way, in this technique, a hull is formed.
3. The Form of a Hull
When you look at those nice scale drawings with the cross-
section of the hull at each station, you are tempted to think
that if you made a pattern for each station, carved to the
pattern, and then sort of smoothed out in between, you get
the "right" hull. Well, not necessarily. In fact, for many
designers right up to modern times, the carved model came
first and the drawings came second.
In the technique I am describing, a hull is defined by
(usually) three "master sections." One of these defines the
main or amidships body, another the "heel," or after body,
and the third defines the "entry" or the fore part of the
hull. All sections between these are derived by a process
called "fairing," which generates a smooth transition, free
of bumps or hollows, from master section to master section.
A carved hull is faired directly on the wood, by a process
that is a lot like sculpture. When you do it, particularly
for a hull which is of a "certain age," you are very likely
duplicating the process the original designer went through,
getting you closer to a "true" shape than any set of drawings
can.
I said that fairing a hull was like sculpture, and like
sculpture is an art, and like all arts no two people will do
it the same. Yet after you do a few hulls this way you'll
get a feel for it (and never look at a hull the same way
again.)
So the final set of reference lines are the placing of the
master sections. First you have to pick them out from all the
sections shown on the station plan. The amidships section is
easy: it's the biggest one. The fore and aft master sections
take a bit of study, but for most hulls you can see where the
distinctive form of that part of the hull is defined. In any
case, it's no big deal if you're off by one station either way.
When you have selected the master sections, mark their fore
and aft positions on the deck center line. With calipers
transfer the half beams from the plan drawing to again make
sure that there is wood to spare on either side of the hull.
At each section position, draw a line on the deck at right
angles to the center line, then around the hull with the
flexible ruler. Sight from the side. The lines running around
the hull should be at right angles to the LWL. If not, yeah,
yeah, sand off and redraw.
Now you've got a set of reference lines that position that
phantom hull right near the middle of the block. Carve away
everything that doesn't look like part of a hull and you're
done :-)
4. The Carving Process
To carve the hull you'll need the usual Xacto knives, a
fairing tool, and a couple of battens. A fairing tool is a
long, springy piece of material to which you attach the self-
adhesive sandpaper used on small power sanders. A flat-
surfaced sanding block is deadly to the fairing process; there
ain't no planes on the kind of hull we're talking about :-)
Using your fingertips is even worse. For the average (two
foot or so) hull a thin, springy, 18" steel ruler is good.
Battens are springy pieces of wood, say 1/4" x 1/8" model
airplane spruce, used to check fairness and draw sweeping
lines.
Make a set of patterns of the master sections. Xerox the
plan, fold the copy in half carefully down the centerline,
and cut both sides at once. Using a full pattern instead of
a half pattern really helps get things symmetric. Glue to
file folder card stock and cut out carefully. Make sure the
LWL is marked on the pattern.
Draw the plan view on the deck. Don't cut a pattern from
the plan -- for (usually) sweeping curves like this you'll
never get it right. Instead, lay off the half beam distances
for several sections. With pins (or better yet, a helper you
don't mind being close to :-)) hold a batten in place to get
the sweep of the hull shape and draw along the batten edge.
Sight down the deck from stem to stern to check symmetry and
if not ... well, you know what to do.
The order of carving and fairing is: amidships master section
first, then aft, then fair the after body, then fore master
section, then fair the fore body. Other sequences are
possible, but they don't seem to give the same "feel" for how
the hull is developing.
Carve to the amidships section first. Carve parallel fore and
aft, so the middle of the hull looks a bit like a straight
tube. Check with the pattern, making sure that you align the
LWL on the pattern with the LWL on the hull. As you carve
away parts of the reference lines, redraw them with the
flexible rule.
Then carve to the aft master section. It's hard to describe
how this looks; the closest I can come to it is that you
carve at a straight angle from somewhere between the two
sections, so it looks like a hull made out of two sheets of
cardboard, one straight (the amidships section) and one
conical (the aft section). Watch the deck plan so that you
don't cut off a diagonal that should be an arc.
Now you are ready to fair the aft body. This is one of those
things that is obvious when you watch it being done but tough
to put into words. Anyhow, here goes: Put a little spring
into your fairing tool so that it forms a gentle arc. Hold it
at a 15 deg angle or so to the center line, and sand with a
gentle curving motion so that you are forming a compound
curve. Go slow. Do a little on one side, then a little on the
other. Check by laying a batten along the line a typical
plank would take. Sight carefully for bumps or hollows and
work out with the fairing tool. As you get used to doing
this, you'll see the hull form come up as if by magic, and
your eye will be trained to recognize fairness when it sees
it. Work it down to the deck line. It's not possible to
perform *too many* checks with the batten :-)
The fore body is carved and faired the same way. If the hull
has a "hollow" (concave) entry, like a lot of clipper ships
and some yachts, then you may find yourself bending the
fairing tool into a convex instead of concave arc.
The last thing to cut is the sheer line. On "yacht like"
hulls, this is one of the most critical lines -- get it right
and the hull is lovely from almost every angle, get it wrong
and the hull never looks quite like a boat. As with the
plan line, use a batten instead of a cardboard pattern. Take
the vertical heights from the LWL for several stations, and
draw the line with the batten. Check by sticking pins on the
line at station points and sighting from for and aft to see
that they are at the same height. *Carefully* carve close to
the line and then sand. This is the one point where a sanding
block helps; especially the round-ended ones sold by MicroMark.
Try to get a sweeping motion in your sanding. When you're
almost there, switch to a scraper. Hold a wide Xacto chisel
blade in your hand and pull it toward you with the ground bevel
edge *away* from the direction of travel. This will shave a
very small amount of wood from the deck. With a little practice
you can scrape a sheer line to a really sweet sweep.
And that's it. One day you'll do a hull and it'll be so
pretty you won't want to clutter it up with all that fiddely
little detail (just kidding).
Well, I seemed to have rambled on an awful lot; as the old
line goes, I regret I didn't have the time to write a shorter
message. But I hope this conveys some of the enthusiasm I
have for carving hulls, and helps you (and a useful
discussion) get started.

***Never assume a solid hull requires a little sanding. They
carve it over scale, and mostly really over scale around the
bow and stern. Don't ask me why. You will need to do a lot of
carving, using the templates. Don't worry about getting it
exact on both sides, just close. You need a nice sharp gouge
and chisel. The gouge is needed to cut the concave surfaces at
the stern. A chisel will handle the midships area. Carve
slowly, checking the templates as you go. Eventually you will
have the skill to know what to take off without screwing it
up. When close to lines, sand it. (Ben Langford)

***When I started wood carving (before boat building), I learned
from a guy who said "you can't carve unless you remove wood.
Many beginning carvers are afraid to take wood off. Thus, their
work is often shallow and has no depth or figure.
My suggestion is to get a picture in your mind of how the hull
should look. Study the box art, study the plans. Study the
lines and get a rough feel of where the highs and lows should be.
Place the templates in their positions and see how close they
fit. Then carefully sand and carve your way down along the
entire hull on both sides. Don't concentrate on one area. You
can distort it too much.
As you begin to remove wood Keep looking at the templates and
the overall hull. Do the lines flow over the hull as you have
visualized them? If not, do some more work.
My first model was the Phantom for Model Expo. I followed the
templates, but I also made sure the overall feel of the hull was
smooth and that both sides were balanced.
You will make mistakes. Learn from them and move on.
(Mike Tavella)

* ***While I'd guess this is old news to many on the list, while
carving my first scratch bread and butter hull, I used the
following tools:
8" shoe makers rasp
small block plane
3/4" Flexicut gouge -(awesome tool!!)
1/2 " wood chisel
The most important fairing tool was a sanding batten. I took
1/32" basswood 1" wide by 24" long, and rubber cemented a piece
of 1" finegrit sanding belt to it. I glued two small blocks to
the end for handles. This thing faired the hull, and took out
the hills and valleys between the template carved areas in no
time. It also worked much better than a power sander when I was
fairing in the plating on my 40" destroyer hull.
Hope this helps (Jay Schantzen)
PS: if you make a gross mistake in the bow or stern, you can cut
off the offending area, and glue and dowel on a new block and
recarve. It gave me the creeps to do it the first time, but it
sure turned out better than just leaving it wrong or trying to
fix with epoxy putty.

27. How do I make wooden planking appear realistic?

A. There are different answers, depending on whether you're
asking about hull or deck planking. It also depends on the
construction used.
If the hull / deck is solid wood, you can scribe the plank-
seams into the wood. The disadvantages of this technique
are that: one slip and you've got a problem; if the wood
shows any grain at all, the planking will look artificial
due to grain running from one plank to the next.
If you're doing plank-on-bulkhead (POB), the bulkheads
will be too far apart, allowing the planks to "slump" into
the gaps. This will be true even if you're using "double
planking". A common solution is to glue blocks between
the bulkheads and carve / sand them down to an even curve.
Although this appears to be a lot of extra work, it really
makes a difference. You don't need to use exotic woods
either - ordinary hobby-grade balsa works fine (you just
want the packing to provide support).
Plank-on-frame (POF) hulls support the planking well enough
so that you don't need packing blocks.
You have a couple of choices in working with planks - you
can either use scale planks (a full size plank would be
unlikely to be more than 24' long; = 3" at 1:96 scale), or
you can use long strips and mark in the "butts" (where
planks join) later. Long strips are easier to work with,
unless you have to taper or otherwise shape them - then
they can be awkward!
In any case, before you actually glue the plank material
in place, run a pencil along the edge - when glued, this
will help represent the caulked seams (which were typically
less than 1/4" wide).
Decks are the easiest to plank - in most cases the planks
(and their edges) are parallel to one-another and to the
centerline. The only thing to watch out for is the "shifting
of the butts" - the ends of planks were always supported
by beams; at least two unjoined planks had to be between
successive joints on the same beam. (You don't know where
the beams would be? There would certainly be one under
each end of any deck structure for support; likewise on either
side of each mast. Additional, more-or-less equally spaced
beams would be used to fill gaps between the support beams.)
And, oh yes, they wouldn't place butts anywhere if the total
plank-length was less than a single plank - such as between
hatches, masts, etc. Remember that each joint was a point of
weakness.
The hull is somewhat more complicated. First of all, there
are usually wales (one or more bands of thicker planks
parallel to the top edge of the hull {the "sheer"} located
somewhere around the widest part of the hull in order to
provide longitudinal strength). Planks above and between
these are likely to be of uniform width, although they may be
curved edge-wise. Below the wales the general rule is that
there are a uniform number of planks on each frame / bulkhead.
Since the hull had more "circumference" in the middle than
at the ends, these planks need to taper. Sometimes there's
even a reverse taper (often at the stern), giving the series
of planks from stem to stern the outline of a fish! The
simplest way to manage this is to decide how many planks you
want to fill a space ("N"), then fit strips of paper - at
each bulkhead / frame - to the space, and divide each into N
equal sections. Now take a piece of plank stock, mark where
it touches each frame / bulkhead, and transfer the plank-
widths from the strips of paper to the wood and rough-cut to
shape.
Now comes an activity called "spiling". Set your dividers
to a small gap (say, 1/8"), and place the plank within this
distance of its position. Use the divider to accurately
scribe the edge of the plank relative to its neighboring
plank. Remove and final-shape the plank before attaching it.
Occasionally a plank will get too narrow (e.g., at the bow
where a lot of planks converge) or too wide (e.g., at the
stern where the planks are diverging). Here's where you'll
need a "stealer". That's a place where one plank mates with
a pair of planks:
___________________.________________
___________________|
___________________|________________

..in order to provide an increase or decrease in width.
Planks were fastened to beams / frames using spikes or
"trunnels" (from "Tree-nails" - wooden pegs), depending on
the period. You can add them as you place the individual
planks, or wait until all planks are in place. Remember,
however, that these were no larger than 1 1/2" diameter (or
1/64" at 1:96 scale) - too big and they'll look like "zits".
The same thing happens if they're too contrasty - use a
similar colored wood.
The "nailing" patterns vary with period and plank width -
a plank 6" wide might have one fastening at each beam/frame
(alternating from side to side: , ` , ` , ` ) while
a 12" plank might have two ( : : : : : ).
The nicest material for the pegs is bamboo - salvaged from
barbecue skewers. With a little practice you can split these
end-to-end using nothing but a pocket-knife. Then pull them
through a "draw-plate" (steel plate with a graduated series of
holes) to round off the corners and make them the final size.
Dip in glue and push into the pre-drilled holes; then clip
them off. When the glue has dried, cut, scrape, and sand
them flush. (Hint - if you put a coat of finish on the plank
before you glue in the pegs, squeezed-out glue will pop
right off without a lot of effort; it won't leave a mark
either.)
It's a good idea to put planks alternately on both sides of
the hull - The strains are balanced and the hull is less
likely to warp; it's also easier to maintain symmetry (it
looks terrible if you end up with a herringbone pattern of
planks at the bow or stern). (John O. Kopf, with input from
all in the shipmodel list.)

***You might find it useful to notch a thin batten into the tips
of each frame where it meets the keel, so you can glue the batten
along the keel & stem just inside of where your rabbet would have
been (along the 'bearding line'.) This gives a smooth fair
landing for your garboard and plank ends, a faux rabbet, if you
will. ;)) (David C. Hill)

***A better solution would be to veneer the outside of the
plywood keel (thus hiding the ply laminations on the edge); this
veneer could then also serve as the edge of the rabbet.
(John O. Kopf)

John O. Kopf

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Sep 22, 2001, 7:11:10 AM9/22/01

Archive-name: ship-models-faq/part09
Rec-models-scale-archive-name: Ship_Modeling_FAQ/part09

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Last-modified: 22 June 2001

This is the Frequently Asked Questions FAQ (part 09) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###############################################

32. Where can I locate some chrome fittings for a ChrisCraft boat?
(Tom Black-SEA)
A. Check out:
http://www.usbusiness.com/drydock/
You may also get some direction from Rich Redfern at:
http://members.aol.com/rgrisland/index.htm (Kim P. Weaver)

***Try Bare Metal Foil chrome at their site at:
http://www.bare-metals.com/bmf (Lim Chan Hiok)

***Try Dumas models themselves. They will sell anything that they
produce in the way of fittings or wood, even the windshields for
any of their "Mahogany" boat line. Prices are more than
reasonable and you can order from one piece to the entire
fittings sets. Also very friendly people to do business with.
Then again you are limited to whatever scale they sell. 1/8 to
1/10th but mix and match as the fittings for a smaller LOA CC
will be larger on a small model or the other way round.
(Rich Redfern)

33. Has anybody got a recipe for chemical blackener? (To blacken

brass and other metals) (Havard Houen)
A: Check with your local model railroad store there is something
sold for them already mixed. (Graham Mansell)
***I use gun blue, in north america sold by companies such as
Hopps and available at hardware stores and most sporting goods
stores. Not sure were you would get it in Norway. I can't
remember precisely but I think the main ingredient is phosphoric
acid. The train modelers have a similar product available as well.
I took a quick look through my Walthers catalog but couldn't find
it right off. I think it is called Blacken it or something of
that sort. (Graham Collins)
***"Blacken-It" (or the equivalent) is very effective on brass --
and, as I recall, on copper. It does *not* work on aluminum or
stainless steel.
I learned the hard way that any surface to be blackened must be
*very* clean if a mottled appearance is to be avoided. I always
rub down my parts thoroughly with fine steel wool and mineral
spirits to remove all traces of oil and oxidation before applying
Blacken-It. Any glue on a part's surface will prevent uniform
coloration, of course, and must be avoided at all costs.
I always *immerse* the part in Blacken-It if possible (or keep
the part thoroughly wetted) to ensure uniform coloration.
Different effects ranging from mild blue-black to dead black can
be obtained by varying the amount time that elapses before the
Blacken-It is washed off. The resulting finish becomes very dull
(i.e., "flat") if it's allowed to progress to the "dead black"
stage, but it can be polished easily to a partial or rather bright
sheen by rubbing gently with an old tee-shirt. (Charles Metz)
***Here is the list of compounds found on the label of a bottle of
Blacken-It:
Denatured alcohol, selenous acid & dilute copper chloride/copper
carbonate. The copper chloride explains the light blue color.
(GRN BERET)
***I finally found my bottle of chemical blackener (Hobby Black
No. 1) and the two main ingredients in it are Selenium Dioxide and
Methyl Alcohol. There is also a big WARNING that they are poisons
without antidotes and that vomiting is the only treatment if
swallowed. Great if you don't have small children or barflies
around.
This stuff does work on everything but aluminum and stainless
steel. (Cookie Sewell)
***I get good results by brushing coats coats on, usually
several, that will darken the brass gradually. Dipping the
metal in the stuff often doesn't work.
Over the years, I noticed that different brass fittings
(perhaps made of different grades of brass?) work better or
worse with chemical blackeners. The best blackener I've ever
used comes from a jewlery supply house. (Kerry L. Jang)
***I have had success with most of the available chemicals. My
approach however is to do it in steps. Dip it once to get a
bronze patina. Buff it with a rag to get off any loose stuff.
Then dip it again, and repeat this until you get the shade of
black you want. I too found that if you just soak it for a long
time it just builds up a big thick sooty mess. (Ben Langford)
***I bought some brass blackener from a jewelry supply house a
couple of years ago and had a terrible time with it. This,
after chemically cleaning with a bonefide metal cleaning agent,
the object to be blackened. The color, after dipping was
beautiful but rubbed right off. A complaint to the seller
straightened everything out. I was told that the best way to
oxidize brass is to use a very weak solution so that the
oxydizing solution works very slowly and penetrates thoroughtly.
I tried it and it works great. BTW, It is a lot cheaper to
buy the blackening solution from a jewelry supply house. As I
recall a pint bottle cost under $12.00. (Dana L. McCalip)
***For those who have had problems blackening brass as I have
in the past (i.e., the black flakes off immediatly) the solution
is quite simple. Using Dana McCalip's advice in an earlier
message I was able to get perfect results with Brass Black. The
simple answer lies in using a dilute solution...I had best
results with a 1:10 dilution of Brass Black to water. In this
case less is definitly more. Just follow these easy steps:
-Clean the brass with steel wool.
-Soak the brass in acetone for a few minutes.
-Place in a 1:10 solution of Blackener for about 15 minutes
(or two racks of pool for those of you who use a billiard
table to kill time when parts are drying).
-Flush the parts copiously with cold water for a minute or so.
-Place on a paper towel and let dry.
-When dry, spray very lightly with a flat lacquer.
Keep your fingers (i.e. oil) off the brass after the initial
acetone wash. Surgical gloves work well. I believe that the
above steps will work with most blackeners provided they are
allowed to etch and not just oxidise the metal.
Sorry to bother you pros again with this info but I believe it
will be of use to those frustrated novices among us who are
tired of the flaky-black-metal-syndrome. (Greg Herbert, D.V.M.)
***There cannot be too much emphasis placed on the proper
preparation or cleansing of the metal prior to dipping in the
oxidizing solution. One of the best cleaning procedures is a
strong scrubbing with a solution of ammonia, soap and water.
After cleansing, dry with a clean cloth and do not handle or
touch with your bare hands. Handle only on the edges if you
must or with tweezers or tongs, etc.
After the oxidation or surface coloring is complete be sure to
neutralize the coating by rinsing thoroughly with cold water.
An improperly rinsed item will continue oxidising until the part
is a crumbling mass of mineral salts. This happened to the
chain rigging part of the topsail halliards on some of the
models built in the late 1920's for Chicago's Museum of Science
and Industry. All of the chain rigging had to be replaced.
(Dana McCalip)
***On a related topic, polished brass (such as for model mounts)
is best cleaned and then coated with ordinary shellac, with the
brass about the temperature of boiling water -- this drives off
the alcohol quickly, and gives a much harder finish. (And,
you're less likely to get fingerprints on metal that hot!)
(John O. Kopf)

34. Does anyone have any experience and/or tips on how to use slide

cover glass to make windows? I have read about using microscope
slide covers to model windows. This sounded great until I tried
to figure out how to cut the pieces to the proper shape. Every
time I try, I just end up destroying the delicate little square
of glass. (Dan Sullivan)
A. I have not specifically tried to cut slide glass but I have a
stained glass company and at times we have been called on to
repair lead light windows 1mm thin.
Use a good quality glasscutter & make sure the wheel is well
lubricated (dip into thin oil or kerosene if it is not the type
with a reservoir in the handle). You will also need a pair of
grozing pliers obtainable from any specialised glass shop.
For such thin glass make sure it is well supported, like on a
thick wad of newspaper. Glass is a solid but has the properties
of a liquid and will break irrationally if there is uneven
pressure.
Mark with a felt tip where you want to cut (can be straight or
curved). Make one even score preferably without stopping. Never
go over the score twice. Exert just enough pressure to hear a
faint scrunching sound. You are not trying to cut the glass,
just to break the surface tension.
With score facing up, hold the glass in one hand and snap off
the piece you have scored with the grozing pliers by placing the
squared off jaws parallel and close to the score. The pliers
have a right and wrong way up. Instructions are usually on the
back of the pack or ask the assistant to explain as wrong way up
will break the glass unpredictably. The movement is downward
away from the score.
score
|
hold V pliers
------------------v-------------------
|
| break
V downward

This is very hard to explain without a pen in my hand so if you
don't come right please send a fax number and I will sketch the
above. Or contact a local Tiffany or stained glass manufacturer.
You can also buy little glass saws like a miniature bandsaw but
they are pricey and we don't use them as the above method works
fine with practice. (Paul Wilson)
***Place the cover slip on a piece of glass, score lightly with
a diamond tipped pencil and break abruptly over the edge of the
glass. Usually works. Any little peninsulas can be ground off
with a small diamond or abrasive wheel in Dremel tool.
(Clayton Feldman)
***Try cutting the glass underwater. I know that this sounds
strange, but it works. The reason that glass shatters is the
breaking of the glass sets up vibrations in the glass that are
transmitted throughout the glass. These vibrations cause the
glass to shatter. If the glass is underwater, the vibrations are
damped out and the glass will not shatter. Believe it or not, I
once cut a piece of glass with a pair of sissors! The cut was
not clean, but the glass did not shatter. (Tim Philp)
***The best and easiest technique that I have seen and used
successfully is contained in an article by N. Roger Cole,
"Seaway's Ships in Scale", Vol. VI, No.1, page 15. The pattern
is drawn on a piece of scrap wood, the roughly cut coverglass is
secured to that pattern with double sided sticky tape and then
the glass is finished to final shape with a disk sander. Wear
eye protection, avoid brerathing the glass dust. (W. Hannan)
***I just use 10 thousands plastic sheet for windows. Works
great. (Ben Lankford)
***Put the glass on a very hard surface (I've used a steel
plate) and scribe with a diamond or similar point...then finish
the edges smooth on a fine carborundum paper...you'll still get
a lot of "scrappers". You'll find that, when putting them in
place, a fleck of sawdust in the frame may be enough to crack
the glass.
I now use mica instead; it's flexible, can be split to any
desired thickness, can be cut with scissors, and - being a
mineral that is already millions of years old - is unlikely to
decompose. Unfortunately, it's hard to find - check out your
local "rock-hound" shop. (Many of the admiralty models were
glazed with mica, and it's lasted hundreds of years.)
>>>there's now a supplier listed in the FAQ! (John Kopf)
***Please be very careful when grinding the edges of glass with
an abrasive (diamond or carborundum) Eye protection is an
absolute must. (Peter Law)
***Thank you all for many excellent suggestions. After some
experimentation, I have found that the "scribe and break" method
works very well as long as the glass is well supported (I have
been using a steel rule as a base). I use the edge of a sharp
chisel pressed along the desired line to support the glass from
above.
Lacking either a diamond scribe or a Dremel, I resorted to
using the tip of a needle file (the hardest tool I have) to do
the scribing. With care, this makes a nice sharp line, and the
glass breaks off very cleanly.
I would never have figured this out myself; thanks again for
all of your inputs. (Dan Sullivan)

35. I am currently assembling a steam ferry boat model which, as
one can gather from the FAQ, doesn't come with "complete"
instructions. I have been provided with a brass tube for the
ship's smokestack, and brass flat wire to make bands around the
stack. The plans tell me to rivet the ends of the flat wire to
the stack. Rivets were not included in the kit. I have
managed to locate 1/32" X 5/32" copper rivets to accomplish
this task, but have no idea how to actually do the riveting. I
do have experience with larger rivets (patching holes in my
car) but the scale rivets look nothing like the larger ones I
am used to. The scale rivets appear to be nothing more than
straight copper pins with a round head on one end.
I would appreciate any help in riveting the bands to the tube.
(Mark S. Wheeler)
A: Riveting with solid rivets is simple supporting the "head" in
the proper sized holder. If it is a rounded head (I'm using
simplistic terms here, so no smart ass remarks from other metal
workers, please.) you need to support it in a rounded recess in
a steel block to keep from deforming it. Once this is figured
out you either hammer the other end causing it to bulge. Or
squeeze it. Vise grips are good for squeezing rivets. Ideally
the part of the rivet that sticks through the material to be
riveted should be about one and a half times it's diameter. A
properly set rivet should measure one and a half diameters
round and half a diameter high.
(Woody Vondracek)
***Since you want to support the (round) rivet head, you
need a round depression. Go to your local hardware store and
check out "nail sets" (a punch used to drive a finishing nail's
head below the surface of the wood) in the woodworking tools
area - these have a hemispherical "dimple" in the end (to keep
nails from slipping), and they come in different sizes.
(John O. Kopf)
***A tip in a recent Scale Auto Enthusiast suggested using a
mechanical pencil to cut tiny disks out of aluminum duct tape
(this is actually adhesive backed, heavy gauge aluminum foil -
NOT silver plastic tape - find it at the hardware store). The
details were:
- sharpen the outside of the pencil barrel with a file. BTW,
you can readily find mech pencils (at an art/drafting/
stationery store) in 0.3, 0.5, 0.7 and 0.9 mm diameters, so
you have a choice of rivet sizes.
- put the "tape" on a slightly soft surface, like a piece of
foam, cloth, etc.
- make sure the lead is retracted into the pencil, then punch
it through the foil with a slight twisting motion.
- apply the "rivet" with the pencil, clicking the lead out a
tick to eject the rivet, and as a bonus adding a nice indent
in the center. (Don Schmitz)
***Sounds like it might also be useful for punching porthole
"lights" as well. (John Kopf)
***A clever way to make rivets is to use old fashion (very)
teletype tape as a template. Teletype machines were used in the
50's to transmit messages over phone lines. You typed a message
at one end and the machine at the other end typed out the
message. I believe that beside the military they were primarly
used by the news services hence the name wire service. They
used a paper tape on a reel ot record the message you were
typing out and the tape had a series of small round holes down
the middle so the tape could be tractor fed. Using this tape as
a template and either white or carpenter's yellow glue
(depending on wether not the model will get wet) uniformly
sized evenly spaced rivets can be made. Tape the teletype tape
down and put a small glob of glue over each hole. Before the
glue completely dries lift off the TTY tape and you are left
with a row of neat rivits. Now comes the hard part -- where do
you find TTY tape? I would suggest surplus stores that deal in
electronics, somebody at a local IPMS chapter may have a source
or possibly a hobby shop thet caters to scratch builders of
plastic models.
Good luck. If this technique intrerest you and you find a
ready source for TTY tape be sure and post it to this list.
(Pete Law)
***To make rivet effects on plastic, thin medal, or card stock
I use a dress makers pattern marker. It is a handled tool with
a wheel with spaced teeth on the end. If you look around you
can find them with different spacing useful for different
scales. All you do is invert the plate, mark the rivet line,
and then run the marker along a straight edge. Experiment for
the proper pressure. There is a special made hobby tool (in
different spacing) made just for this purpose. I have just one.
For places where this is not practical, I use a blunted medal
scribber and just push lightly where the rivet should be. When
you glue the plate on you can lightly sand the riveting down to
desired effect as quite often the rivets were ground down almost
to flush or flush.
It's much easier to produce the effect of welding lines on
hulls etc. just by gluing on thin strips of "evergreen strip
styrene" in the appropriate places and light sand down. When
painted it produces a good effect. (Tom Dean)
***For rivets (also bolt heads) I use styrene rod. I drill a
hole the size of the rod plus a thousandth of an inch or so,
then insert short lengths of plastic rod into the hole, securing
with a touch of liquid cement. When dry, I nip off the excess
with Xuron (ModelMaster or Tamiya) nippers to an even height,
then buff them down with a #1800 or #2400 Micromesh polishing
cloth (wet). Use a circular motion, this with round off the
heads (close enough for Gov't work). Time consuming, but it
works! (Art Anderson)
***You can add to Art's technique by letting the rods all
protrude the same length, and then holding a hot soldering iron
near them. They will mushroom out from the heat. I wasn't
convinced that this would work well but it really does, and
makes very consistent rivets. (Robert)
***I have an article someplace in an old SubCommittee Report on
using a "pounce-wheel" to make rivets. It's a hand-held device
with a wheel at the end that has little metal dimples (they
come in different sizes). You run it over thin plastic stock
and it generates rivet heads on the other side. I believe that
The Floating Drydock carries pounce wheels. (Tom Dougherty)
***You can make a "pounce-wheel" by mounting a watch or clock
gear in a slot in the end of a piece of dowel. (John O. Kopf)

John O. Kopf

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Sep 22, 2001, 7:11:09 AM9/22/01

Archive-name: ship-models-faq/part08
Rec-models-scale-archive-name: Ship_Modeling_FAQ/part08

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Last-modified: 22 June 2001

This is the Frequently Asked Questions FAQ (part 08) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###############################################

28. How do you drill the mast holes in a solid-hull ship model?

A: There are several ways you can try.
For the mast holes, you could jig up the hull so it's
perpendicular side-wise and inclined to the mast angle, and
drill the holes using drill-press (assuming you have access to
one).
A second possibility is to recognize that a drill will tend to
follow a smaller hole, and a small hole is easier to drill and
align -- make one template with short "legs" that will sit on
the deck and has a center-line drawn on it; make a second
"triangle" for the angle between the mast and the deck (NOT the
base). Use these to drill the "Pilot hole" for the mast, and
then drill it out to size using successively larger drills.
A third possibility recognizes that the real ship did not have a
"tight" hole for the mast to go through - they made the hole
over-size and then used wedges between the sides of the hole and
the mast to move the mast into position. You can do the same
thing by drilling a small hole and making a "stub peg" on the
bottom of the mast, and then enlarging the upper portion of the
hole so that the mast is a "rattling" fit to it. The peg will
then locate the bottom of the mast, and wedges can be used to
bring the mast - at the deck level - to the correct position.
The "mast coat" will hide these. The bowsprit is a different
problem. Much depends on whether the bowsprit heel is "buried"
in the hull, or rests on the deck. If the latter, simply drill
a small hole and enlarge it with a rat-tail file. If the
former, you might want to consider either drilling a series of
increasingly larger holes as in method 2 for the mast, or making
the final hole undersize, and then trimming the heel of the
bowsprit to fit. (John Kopf)
***Drilling oversized holes is closer to the real way of doing
things than is a tight fit, at least for American built ships.
Charles G. Davis describes the setting of a mast in "The Ship
Model Builder's Assistant" speaking to the hole being larger
than the mast, the bottom of the mast from the step to a little
above the deck being cut to an octagonal shape, and wedges
being hammered in between the mast and the edges of the hole to
stabilize the mast in the hole. ( The mast also had a tenon in
its foot that fit into a mortise in the mast step, also for
stability). The hole and mast was then fit with a skirt of
sail cloth and lead sheathing at deck level to seal it against
the weather. Ergo, you can really screw up drilling the hole
and claim it was for "historical accuracy".
In model building though, you usually can't get at the part of
the mast below the deck to insure that it's held by more than
just the deck, so the usual plank on bulkhead builders method
is to put a solid block between the bulkheads where the mast
goes through and rely on a pretty snug fit between the hole
drilled through the deck and block to hold the mast. Given I'm
too chicken to do it "the real way", absolutely the best method
I've come up with for dealing with the setting of the masts is
as follows:
(1) Build a wooden box with open tops and ends that is about
as long as the hull and at least as high as the widest part of
the ship's sides are when sitting on her keel. The unassembled
bottom should be a couple inches wider than the widest part of
the hull since the sides will be mounted on top of the bottom.
(2) Tack some battens on the bottom of the box to receive the
keel, one batten on each side of the keel, snug enough
together so the keel fits between them, but can't walk around
on you.
(3) Put the ship into the slot for the keel, then glue the
sides of the box on so that they sandwich the hull in, and in
an attitude that is plumb to an imaginary vertical line drawn
through the center of the deck and keel. A round bubble level
like is used for leveling kitchen appliances, bridged up on a
couple of pieces of strake stock set equal distance from the
center line of the deck helps if your eye isn't good enough.
Also slide a block of wood under one end of the box to help
center the bubble fore and aft if the drag of the keel keeps
the bubble too far off center. I put the sides on dry, then
tack them with super glue when I have them where I want them.
(4) If too little of the sides of the hull touch the sides of
the box to stabilize it, put some wedges in between the hull
and the box sides, out toward the stem and stern. The whole
point is to get the hull stabilized and plumb, port to
starboard. Once in the box, the hull shouldn't move at all.
(5) Buy a drill press. I kid you not. A passable drill press
can be bought from one of the chain "Builders Square" type of
store for less money than a decent (and not so) ship kit costs,
and certainly cheaper than a fully scratch built hull
calculated at minimum wage. And you can do lots of other stuff
besides setting masts, like small turnings, with it if you
have enough imagination and some sharp wood carvers chisels.
(6) Use a soft pencil with a good point to mark a cross where
the center of each mast should be on deck and an awl to dimple
the deck at the mast hole centers. Check your references,
Davis is good, because masts are not usually evenly spaced,
and if you set them up like pickets in a fence, the end result
may not be worth the effort. If the plans are good, I trace
the deck and mark the mast positions on a piece of mylar, then
cut it out so it fits inside the bulwarks. Makes it easy to
transfer the center point of the masts with an awl.
(7) Also check your plans for the amount of rake each mast
will have relative to a straight line drawn to the average
fore and aft line of the deck (your base line). Typically,
the rake increases as you move aft, and starting with a slight
exaggeration to the rake is usually a good idea since the stays
will draw them forward if you follow the usual sequence of
setting the standing rigging from the bow working aft. A
protractor based on the deck base line of the plans at the
base of the mast and read on the center line of the mast will
give you the right reading. I've gotten reasonably good
results, at 1:36 and 1:50 scale, by adding one degree to the
measurement I took off the plans. If you really want to get
picky, the rake should probably be measured from the waterline,
particularly if you're working from a table, rather than plans,
but I've gotten by with a somewhat arbitrary base line.
(8) Set the boxed hull on the drill press table and tilt the
table until the deck is level, fore and aft. The bubble level
helps here too, but make sure you put it on the deck at a
place where your base line and the deck are parallel. Record
the measurement on the protractor of the drill press at this
point. This is your base angle for the masts. Note: If you
took your angles from the waterline, you have to adjust for
the difference in angle between the waterline and the base
line.
(9) Add the rake of the foremast to your base angle and adjust
the tilt of the table accordingly. Make sure the adjustment
moves the bow in the right direction for the rake you're
trying to get in the mast.
(10) Clamp a fence to the table top so that when the box is
pushed against it, the drill bit hits the center line of the
deck and the center line is square across the table. If
you're off on this, the resulting angle of the hole will also
be off.
(11) Using a drill bit approximately 1/3 the diameter of the
final hole, and with the drill press set at a slow speed,
drill the center of the foremast hole. Before you touch the
drill bit to the deck, turn the drill on and look at how the
bit is turning. If there's any wobble at all to the drill,
reset or replace it.
(12) Stick a dowel into the hole and see how it looks. This
is your last chance before you blow the whole exercise. Make
sure you check both perspectives, fore and aft rake when
viewed from the side, and plumb when viewed from the bow and
stern. If the bow/stern perspective is off, there's something
wrong with the set of the hull in the box, your fence isn't
square to the table, or there's something seriously wrong with
your drill press.
(13) Work the size of the hole up to the final size with a
drill 2/3 then 3/3 the final size. If the first or second
hole shows some splintering of the deck planks, buy a new
drill bit and/or tape a square of masking tape over the hole
before you move up to the next sized drill. A shredded deck
doesn't add a whole lot to the finished product.
(14) Move on to the next mast hole, keeping in mind that your
measurements of the angle of rake is relative to the base
line, not the last place you had the drill press table set to.
I've been trying to sort out a clamping jig that I could
substitute for the wooden box, but haven't sat down and really
tried to work it out. The box goes together in five minutes so
the incentive hasn't really been there, and the left over box
makes great kindling for my wood furnace.
Also, any legend that has a better method, or is willing to
let the rest of us in on how this might be done without
investing in a drill press, go for it.
Also 2, are the tables published by Davis on rake of mast
really relative to water line or have I missed something in my
reading? (Jack Silvia)
***I built the "Swift" years ago. It was my first plank on
frame effort. What I did wasn't even close to what Don
described, except that I did use a drill. I used a cardboard
template to guide an extremely long 3/16" bit to drill the pilot
hole. The template was cut to the fore/aft angle, the port/
starboard angle was held by eye. I put the hull, minus deck
cabins, into a vise and leveled it. Using the template to
describe the right angle I gently drilled the pilot hole to the
proper depth. I then made sure that this hole did in fact have
the right angles by sticking 3/16 dowel in the hole and
measuring. Seeing this gave me the angles I was looking for, I
increased the drill bit dia. to 1/4" and "reamed" the hole
larger. I then went to the drill bit closest to the mast dia.
and made my final cut. Very acceptable results! (Michael Long)
***I've been using a General portable "drill press"-- attaches
to any 3/8" drill, and any (useful) angle can be set. Usually
not off more than a degree. It helps to use a small size bit
first to guide a larger one. There is a depth stop on the tool
so you don't come out through the keel. I build bread and
butter hulls, so I drill the mast holes before the deck is cut
to be as accurate as possible. Cost is about $35 at woodworking
stores or catalogs. Can also be used to get accurate holes in
dowels (spars). Another tip-- if at first you don't succeed,
pour epoxy in the hole and start again the next day.
Hope this is useful for other modelers. (Timothy M Sullivan)

DETAILS
=======

29. I'm looking for a source of sheet copper about .001 or .002 to
plate the hull a ship model?
A: Call up your local auto parts store (NOT the fuzzy dice dealer
chains) and get a price on shim stock. You should be able to
find it in just about any thickness you want, but it won't be
cheap (sheet copper never is).
***Another possibility: Bare Metal Foil - has added copper to
their line of adhesive backed foils. These foils are amazingly
thin - you'll have to have the plastic/wood as smooth as you
want the metal surface to be, but its probably a lot easier to
work than even .001 shim stock. Look for ads for Bare Metal in
your favorite hobby mag. (Don Schmidt)
***Ask your dealer to order you a sheet of Bare-Metal Foil,
Co.'s Copper Foil. It measures 6"x12" and works WONDERFULLY for
coating the hull. (I recommend ordering one sheet (which runs
$6-$8) so that you can try it before you go all the way.) It
usually takes 3 to 4 sheets to cover the entire bottom.
However, I put it on my U.S.S. Constitution and it make all the
difference in the world. It is "wafer" thin, so all of the
surface details on the plastic show up.
BTW, if your supplier can't order it, and you can't get it
through mail order, their address is:
Bare Metal Foil, Co.
P.O. Box 82
Farmington, MI 48332
(William Blakely)
***I've used copper sheathing tape, which is extremely thin and
comes in 1/4 and 5/16 inch widths. If you can't find it, Model
Expo sells it in 15 ft. coils for about $5. Works fine.
(William Nichols)
***Stores that deal in stained glass supplies carry a copper
foil tape in various widths and thicknesses. Already has
adhesive, so just cut to length, peel off the backing, and
apply. (John Kopf)

30. How is the copper applied? I'm about to copper my first ship
and have some questions:
1. What is the best glue to use on the plates
2. How to I age the plates. I wants to make the coppering
look old rather than shiny
3. Do I copper from the waterline down or the keel up (ship
is British circa 1800)
A. According to Harold Underhill's 'Plank On Frame Models',
the copper was supplied in sheets 48Ó long and 15-18Ó wide. It
was laid brick-work fashion, in three 'goring belts', with each
piece overlapping the ones below and the one aft. The objective
was to conserve metal, NOT to look pretty.
On a model, coppering looks best if the nail pattern is
somehow embossed into the individual plates -- un-embossed
plates are visually much less interesting. The coppering also
hides the planks, which frankly looks more interesting than the
plating will.
The first step is to apply the copper to the stem, keel, and
sternpost, 'running length-wise along them, the side sheets
being turned down round the outer faces...all of which were
then covered by a wrapper plate extending down the front of the
stem, along the length of the keel, and up the aft side of the
sternpost, put on in 4 'sections of course'.
Next, successive rows of copper are applied parallel to the
keel and running up the stem and sternpost until about half way
up to the waterline.
From the top of the belt at the bow and stern run a fair
batten around the bilge, and mark this line on the hull.
Continue the first belt up to this line, cutting the individual
plates along this line as necessary.
Lay out a second line parallel and below the waterline, two
strips wide (three wide for larger ships).
Begin the second belt as before, starting at the top of the
lower belt but with the individual plates full size. Continue
this up until the top row, cutting the plates as necessary at
this line.
Finally, install the two (or three) upper rows to form the
third goring belt ending at the waterline.
You will now have three ŅbeltsÓ of plating; the first at the
bottom, the second above Ņcutting offÓ the lower belt, and the
third (top) belt again Ņcutting offÓ the middle belt.
(John Kopf)
***I use contact cement, particularly Walther's Goo (available
wherever model railroading is sold). I have never had a plate
fall off of this.
Are you starting with individual plates or a whole sheet of
copper. A good way to start making the copper look different
is by heating each individual plate with a propane torch (or
similar device). The plate will discolor and each one will
appear different.
Some washes of white and green over the copper after it is on
the ship will go along way to making it look weathered. Apply
the washes in a downward motion so it streaks from top to
bottom.
Copper the keel, stem, and stern first. Then copper from the
waterline down, fore to aft. Make sure you overlap the plates
slightly. (Dave Loseke)
***I don't know about putting the plates on or which way to go,
but for the weathering, the following worked on a plastic model
with a Copper Metalizer paint. I filled a container with warm
salt water. It must be big enough to set the model in up to the
water line, and I used table salt. I then placed the model in
the salt water up to the waterline. It sat in the water for
about 3 minutes. The model was hung over the bathtub and
allowed to drip dry stern down. This was repeated every other
day for one week. When finished, the hull had been dipped 4
times. I mounted it to the base and continued with the
construction of the deck fittings, masts and rigging. This
took appx 90 days to finish, working about 4 to 5 evenings a
week. By the time I had completed the model, the natural
oxidation of the saltwater on the copper finish had produced a
very worn and greenish looking lower hull. The chemical action
had apparently stopped working by the time I finished the
model, as I did not notice any further color shifts over the
following two years that I had the model in my possession.
(John Huggins)
***why do modelers want to make a copper hull green? did you
ever see a copper hull? When it is new and first done it is of
course copper color. So if you want your model to look new,
leave it copper.
On the other hand, if the ship has been in salt water, and you
remove it, it is a very bright copper color. It only turns
green after its been hauled out and exposed to air for a long
time. An active ship, with a copper bottom has a bright shiney
copper color.
A ship out of the water, high and dry, like maybe CUTTY SARK
will be green, and an old model, not properly cared for will be
green. (Ron Ginger)
***I was going to recommend Bare Metal's Copper Foil as well,
but I didn't know if it would work due to the fact that
everything sheet of foil I've seen except for the chrome finish,
is somewhat wrinkled all over, and I don't know if it will lend
itself to chemical weathering, I don't ship model, however, I
liked the propane torch, and salt water tips, very clever.
However, there is a product available (somewhere) that
'antiques' copper to a streaky black finish. I used it in Jr.
High School years ago to age a copper sheet that had been 'awl
punched' with a design. This stuff smells like rotten eggs, and
for some reason, I think it contains ammonia, and possibly
sulfur. (David Cooper)
***To those of you who have been advocating planking solid hulls
- I heartily agree! I would not however, recommend the Elsie or
the Sultana as a first kit to attempt this with, however. Not
because they are bad kits, but because they have painted lower
hulls. With painted lower hulls, the planking will be visible
below the waterline, which is the most complicated portion of a
ship's planking. Here one must deal with stealers and so forth,
and strong compound curves. Above the waterline, things are
much simpler.
I recommend Model Shipway's Kate Cory or something similar.
She has a plank-on-solid-hull construction, but she has a
coppered hull. Since the coppering will cover the lower
planking, the lower planking need not be to scale, allowing the
modeler to experiment and learn. The key here is to fill and
sand the lower planking so that the planking pattern will not
show through the (very thin, self adhesive) copper. IMO
coppering is much simpler (if somewhat tedious) than planking.
Remember to clear coat the copper as soon as possible to protect
it from finger prints! It will still age nicely under the clear
coat. (Paul Darrah)
***Came across new idea for coppering for the budget-minded
folks.
Helped young boy build first ship.
Built Pilot Schooner "Hesper" 1/4 scale modified POB.
Excellent plans and booklet by Erik Ronnberg Jr.
I have coppering sheathing of all types, but youngest had
another idea.
Never too old to learn.
Here are the details, and believe me it looks good.
Bought pad of paper canvas (10 sheets $5.00)
Paper excellent texture and tough.
Painted two sheets of canvas with copper metallic acrylic
($1.30 plenty left over.
Applied two coats acrylic waterbase varnish ( $1.50 plenty
left over).
Allow to cure 24hrs.
Antiqued over copper canvas with burnt umber acrylic wash
($3.50 a tube, enough for life)
Antiqued waterline area with a Light Green mixed with little
Burnt Umber wash ($3.50 a tube enough for life)
These washes are easy to control can add more or take away.
Brush on two coats of waterbase varnish. Let cure for 24hrs.
Cut individual pieces from strips or use strips.
For overlap effect press razor blade or similar implement to
back of canvas. Will not cut through.
Can fill ridges with Elmer's glue to keep shape. Wipe off excess
outside of ridge. Let dry.
Coat hull with two coats of contact cement. Let dry.
One coat of same on back canvas. Let dry.
Brush another coat of contact glue on back of canvas, apply to
hull in wet state so can adjust plate or let dry and use wax
paper on back and slowly remove.
If contact glue gets on copper side let dry and rub off with
finger or pickup eraser.
Material is very durable and holds excellent. Tested by placing
ship in screened porch through one year of Florida's wonderful
weather.
It looks darn good.
If you worry about the thickness of the paper there are ways
to compensate.
Cost total around $17.00, could get cheaper at x-marts.
Still have enough for an estimated five ships considering the
canvas paper.
I hope someone will try this. I'm very impressed by the
outcome.
Now I ask why the heck did a accumulate so many types of
copper sheathing over the years.
By the way the youngest just turned 14, and here I 'am in my
60's and been modeling on and off for 20+ years. What a ego
booster.
I think shipmodeling in the future will be in good hands.
(Julianne Conklin)

31. How do I make small, inexpensive cast plastic fittings?

A: How easy it is depends on what shape you want to cast. If the
object is flat on one side (e.g., water-tight doors), or can be
made as a set of components that are flat and assembled later,
it's fairly easy.
The MAJOR expense is the cost of a can of RTV (Room Temperature
Vulcanizing) rubber...get the smallest can you can find. Your
local hobby shop may have it, or can order it for you. Price
this out FIRST -- then decide if you want to continue!
There are a number of ways to do this; I'll describe one that
I've used. I needed to make up a set of 8 steam cargo winches
for a WWI vintage freighter. Each was essentially a rectangular
frame with various "bits" sticking out here and there.
I decided to break the pattern into 10 parts: base, 2 sides, 2
"cranks", 2 cams, 1 spool, 1 "head" and a gear; these would be
assembled using brass rod.
The base was a 1/2 x 5/8 rectangle of .015 styrene, this had
two 3/16 x 3/16 x 1/16 blocks of styrene for steam boxes glued
on, and some of the steam piping.
The two sides (mirror images of one another) were .015 styrene,
properly shaped. A round boss was added as well as a flange
around the top and side, and a steam cylinder (a turned spool
bedded into a carrier, both from Lucite). Also, more steam
piping.
The cranks and cams were 1/32 slices off a 3/16 Lucite rod; the
cranks had a couple of notches filed into the edge to become
"T" shaped.
The spool was turned from 1/4 Lucite; it had a slice of a 1/4
10-tooth plastic pinion gear salvaged from a slot car.
The head was turned from wood, 3/16 d x 3/16 long.
The gear was a slice of another, 8-tooth pinion.
NONE of these pieces had severe undercuts!
All necessary holes were located, and either drilled through
(on the thin stuff) or at least "dimpled" to locate for later
drilling.
I next took a piece of scrap plate glass (about 3" x 4" -- I
had a lot of that left over after the last earthquake), and
CA'ed the back of all the parts to it in a reasonably close
pattern.
I made a "fence" from cardboard -- just a box without top or
bottom; approximately 1 1/4 x 2 3/4 x 1/2 high. This was
temporarily taped to the glass surrounding the patterns.
I smeared the inside of the box, the glass, and the patterns
with Vaseline thinned with a bit of lighter fluid as a release
agent.
Mix up a small amount of the RTV; try not to get any bubbles in
it. Vibration helps -- try one of the Dremel engravers, or a
jig saw -- anything that will vibrate and shake out the bubbles.
Paint a thin coat of the RTV over the patterns...the thinner
the better to avoid bubbles. Do it again. After a couple of
coats, pour the rest of the RTV into the box level with the
top, and let it set up.
Pry the now-solid rubber block off...that's your mould. The
"top" of the mould should be nice and flat (from the glass),
with the "prints" from the patterns as cavities in the surface.
I used 5-minute Epoxy for the castings.
Again paint the rubber with the Vaseline mould release, mix up
a small batch of epoxy (post'em note pads make a wonderful
disposable palette for this) and fill all the cavities. Since
it is clear, you can see bubbles and poke them with a toothpick
or pin. Use an old razor blade to level the top of the epoxy
(that will be the back of the individual castings). Once the
epoxy on the palette is hard, you can remove the castings from
the mould. Being rubber, you can flex it to help get the parts
out.
Warning...the epoxy does tend to stick slightly to the mould.
if there is a bubble in the rubber adjacent to this, the rubber
will tear there and leave the bubble exposed. The next casting
you make from the mould will have tiny "beads" at this sites,
as your casting cavity includes the bubbles which WILL fill
with epoxy. A few of these can be sliced off the parts, but
eventually the mould will become unusable.
How long that takes depends on how much care you took to avoid
having bubbles in the rubber. (John Kopf)
***There are two main mold materials that have very different
applications. RTV mold material is great, you can make undercut
molds. But, it is expensive and has limited shelf life. Other
is plaster of paris. Cheap, but parts must have relief angle,
absolutely NO undercuts or straight sides. Limited shelf life
also, but at price this is not a problem.
I tried to do a zero relief cast of a hubcap that had a short,
straight cylinder. Got the mold off the part okay. Then, put
LOTS of release agent in mold. Still, cannot get resin part
out of mold. Resin castings do NOT SHRINK!
For metal parts, you may be able to get away with straight side
sections in simple parts, as metal does shrink a bit.
But basically, we have the dilemma of an excellent material
(RTV) that is expensive, or a cheap material that limits the
type of parts you can cast. (Don Stauffer)
***Other methods of mold-making and casting include the quick
and expedient method of modeling clay (oil clay) and superglue.
If you need a duplicate of an existing part that isn't too
large or complicated, it can be made of cyanoacrylate(sp?). Get
some modeling clay (the grayish sometimes oily stuff that never
hardens), work it up until its fairly pliable, then simply
press the part to be duplicated into it to make a simple
negative impression. You might need to try it a few times to
get a clean and clear impression. Then, drip in a bit of CA
glue over the whole surface and then a bit of filler
(microbeads, or for both filler and quick setting, baking soda,
which flash cures the CA). A few more layers of CA and filler
will build up the object to the desired thickness. However, it
works best if you don't rush the process with very thick
layers, as they will be very slow to cure, even with soda or
accelerator. Then, pull the clay away from the object, and
with a bit of paint thinner clean off any clay that is still
sticking to the object and there you go.
(Bev Clark/Steve Gallacci)

John O. Kopf

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Last-modified: 22 June 2001

This is the Frequently Asked Questions FAQ (part 12) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###############################################

46. ***The following 2 sections have been contributed by Jon Warneke:

USN Camouflage Measures

The U.S. Navy of WWII developed numerous camouflage measures
for its ships. These were numbered from 1 to 33. These
measures were contained in a manual known as SHIPS-2,
distributed by the Bureau of Construction and Repair (BuC&R),
USN.
1. SHIPS-2 was first distributed in January 1941, containing
Measures 1 through 9. The colors used for these measures
are as follows:
Light Grey 5-L (replaced Standard Navy Grey of the prewar
period)
Ocean Grey 5-O
Dark Grey 5-D
Black #82
White 5-U
All of these colors were mixed from base colors of white
and black, forming grays of varying hues. The measures which
used these colors are as follows:
Measure (Ms) 1: Dark Grey System. All vertical surfaces
Dark Grey 5-D below the funnel tops, Light Grey 5-L above the
funnel tops.
Ms 2: Graded System. All superstructure parts 5-L, hull
graded with 5-L the top band, 5-O the middle band, and 5-d on
the bottom band. Each band is to be of equal width.
Ms 3: Light Grey System. All vertical surfaces Light Grey
5-L.
Ms 4: Black System. All vertical surfaces Black #82.
Ms 5: Painted Bow Wave. To be used with Ms. 1, 2 or 3, but
not Ms. 4. Upper edge of the wave is to be painted in 5-U,
and the body of the wave in either dark blue or 5-D
Ms. 6 through 8 were to use paint to made a ship look like
another (i.e. a Omaha-class CL look like a four stack DD)
with the color of the deception to be the opposite of the
general color of the ship (i.e. the ship painted in 5-D would
use 5-L for the deception).
Ms 9: Black System for Subs. Paint the entire area above
the waterline black.
2. SHIPS-2 was revised in September 1941 after testing found
that blues were more effective in camouflage than were the
grays of the Jan. 1941 edition. The new colors were as
follows:
Haze Grey 5-H
Ocean Grey 5-O (not the same as above)
Sea Blue 5-S
Deck Blue 20-B
Black #82
White 5-U
The colors were mixed from 5-U and tinting material known as
5-TM (Author's note: I am unaware of any references
available to the modeler of the actual tint of either 5-TM or
20-TM, which was used for making Deck Blue). The measures
which were authorized under the Sept. 1941 edition are as
follows:
Ms 1 through 8: Discontinued
Ms 9: Same as above
Ms 11: Sea Blue System. All vertical surfaces Sea Blue 5-S
Ms 12: Graded System. Paint hull 5-S to the level of the
main deck (Carriers to the level of the hangar deck). Paint
superstructure to the tops of the funnels Ocean Grey 5-O.
Above the funnels Haze Grey 5-H.
Ms 13: Haze Grey System. All vertical surfaces Haze Grey
5-H.
Ms 14: Ocean Grey System. All vertical surfaces Ocean
Grey 5-O.
In all measures except Ms. 9, the decks were to be painted
in Deck Blue 20-B.
3. In June, 1942, SHIPS-2 was again revised, and new colors
were introduced, using the same ingredients as the Sept 1941
edition. The colors authorized were:
Thayer Blue 5-B
Haze Grey 5-H (not the same tint as above)
Ocean Grey 5-O (not the same tint as above)
Navy Blue 5-N
Deck Blue 20-B
Black #82
White 5-U
The measures authorized under this edition are as follows:
Ms 9: Black System for Subs. Same as above
Ms 10: Gray System for Subs. Paint all surfaces above
waterline 5-O
Ms 11 and 12: Discontinued
Ms 13: Haze Grey System. Same as above
Ms 14: Ocean Grey System. Same as above
Ms 16: Thayer System. For use in arctic regions. All
vertical surfaces White 5-U with patterns of Thayer Blue 5-B.
Ms 21: Navy Blue System. Paint all vertical surfaces Navy
Blue 5-N.
Ms 22: Graded System. 5-N from the waterline to an
imaginary line parallel to the waterline which runs through
the deepest part of the main deck, 5-O from this point up.
4. In March, 1943, SHIPS-2 was again revised, and new colors
were introduced again. The colors authorized were:
Pale Gray 5-P FS 35526
Light Gray 5-L FS 36320
Haze Gray 5-H FS 35237
Ocean Gray 5-O FS 35164
Navy Blue 5-N FS 35044
Deck Blue 20-B FS 35042
Dull Black BK FS 37040
(The FS numbers are estimates based on the author's
comparison of color chips to FS chips. The new Floquil Marine
colors provide the builder with accurate representations of
these colors.)
The Measures which used these colors are as follows:
Ms 21: Navy Blue System. Same as above
Ms 22: Graded System. Same as above
Ms 23: Light Grey System. Paint all vertical surfaces
light grey, and paint the undersides of all overhangs White
5-U.
Ms 31: Dark Pattern System. Paint all vertical surfaces
with patterns of 5-H, 5-O, and BK.
Ms 31a: Dark Pattern System. Same as Ms. 31, except that
5-N replaces BK.
2 color schemes used 5-H and 5-N
3 color schemes used 5-H, 5-O, and 5-N
Ms 32: Medium Pattern System. Paint all vertical surfaces
with patterns of:
2 color schemes used 5-L and BK
3 color schemes used 5-L, 5-O, and BK
Ms 33: Light Pattern System. Paint all vertical surfaces
with patterns of:
2 color schemes used 5-L and 5-O
3 color schemes used 5-P, 5-H, and 5-N
Measures 31, 31a, 32, and 33 were used with various geometric
patterns that were assigned design numbers reflecting the
pattern and what type of ship they were created for. Thus
"Measure 32/18d" would use the colors of Measure 32, be
geometric design number 18, and have been designed for a
destroyer ("d"). Decks were to be painted in 20-B, but many
Ms. 31 and 32 designs also had patterns of 20-B and 5-O on
the decks.
Also authorized under this edition were green colors for use
on ships. These colors corresponded with the blue colors
and were:
Pale Green 5-PG
Light Green 5-LG
Haze Green 5-HG
Ocean Green 5-OG
Navy Green 5-NG
Deck Green 20-G
These colors can also be found in the Floquil Line of Marine
Paints. The greens were interchangeable with the blues in the
measures, but were mostly used on amphibious force units and
coastal forces.
5. Upon the end of the war, most of the dazzle measures were
discontinued, and those ships were repainted in Ms. 13. Other
ships in Ms. 21 and Ms. 22 remained in those measures until
about 1947 or 1948 when they were also repainted in Ms. 13.

Royal Navy Colours

Nearly every fighting ship in the Royal Navy wore a dazzle or
disruptive camouflage scheme at some time between 1940 to 1945.
In January 1940 the destroyer HMS Grenville became the first
WW2 Royal Navy vessel to display a camouflage scheme. Most of
the early patterns were generated unofficially, and competitions
were often held between ships for the best camouflage patterns.
The RN camouflage department experimented with several dazzle
pattern variations, and decided on a scheme devised by Peter
Scott, a naturalist. These schemes were eventually developed
into the Western Approaches Schemes.
By late 1940 the dazzle patterns on many larger vessels were
painted over, and an overall medium gray (507B) scheme was
adopted. A number of larger vessels (cruiser size and larger)
continued to carry camouflage, usually a Modified Peter Scott
scheme, using Admiralty Home Fleet Dark Gray (507B) and White,
with a dark black gray (507A) sometimes being used. By the
summer of 1941, larger ships began carrying the First Admiralty
Disruptive schemes, which were used sporadically until the
latter part of 1942.
In 1942 the Admiralty Intermediate Disruptive Pattern came
into use, and was reasonably successful in breaking up a
vessel's outline at medium and long ranges and in most weather
and light conditions. The colors usually consisted of MS1, MS3,
MS4a, and B5. In 1944, Admiralty Standard Schemes were developed
in an attempt to standardize patterns and colors.
There is no possible way to catalog every camouflage scheme
carried by Royal Navy vessels. The many unofficial schemes, as
well as variations in standard schemes, means that artistic
license as well as photographic evidence must play a part in
modeling World War Two Royal Navy vessels.
RN Colour 1929 Munsell Matching Paint Chip ***
MS1 5PB 2.5/2 DB Centennial 1-B-1
MS2 5PB 4.5/1.25 DB Cliffhanger Gray 28-V-5
MS3 5BG5.5/1.25 DB Spruce Hollow 29-G-1
MS4 5GY 6/1.5 DB Appalachian Dawn 29-G-2
MS4A 5BG 7.5/1.5 Behr Legend 3A56-3
507A 5PB 3.5/2 DN Mason Dixon 28-B-1
507B 5PB 5.5/2 DB Tornado Season 29-V-5
507C 5PB 7/1.5 DB Georgetown Gray 30-V-5
Mountbatten Pink (Lt) 5RP 5/1.5 DB Deception Pass 22-V-1
Mountbatten Pink (Dk) 5RP 4/1 DB Preserves 1-V-1
WA Blue 5B 8/2 DB Land of the Free 19-B-3
WA Green 5G 7/6 DB Kittery Green 11-G-2
Berwick Blue B 3/ DB Marina 2-B-6
PB 10 7.5PB 1.5/6 DB Old Glory 1-B-2
B5 10B 5/2 DB Husky Blue 28-B-2
B6 10B 6.2/2 DB Silicon Valley 24-V-3
G5 5 PB 2.8/1.5 DB Union Blues 1-B-3
G10 5PB 3.5/1 DB Black Butte 28-V-4
B15 7.5B 4/2 DB Regatta 1-B-7
B20 5B 5/2 DB Motown Blues 23-B-1
G20 5GY 5/1.8 DB Aspen Crest 22-G-3
B30 GY-G 6/1.8 DB Cumberland Gap 16-G-3
G45 10Y 6.5/2 DB Saybrook Manor 30-G-3
B55 GY-G 7.5/1.5 DB Etna Green 17-G-3
Pink R 7/2 DB Vintage Vineyard 24-V-1
Dark Blue B 4/6 DB Kahana Bay Blue 10-B-4
*** Author's Note:
The "matching paint chip" refers to paint colour samples
available free at home improvement centers in the USA. "DB"
indicates the "Dutch Boy" line available at Sears. It is
not necessary that you buy a gallon of the indicated colour,
probably enough for at least a thousand 1/700 scale models.
Obtain the free chip, which has been painstakingly matched
to the Munsell standard, and mix your own. And be aware
that these chips are full scale matches. The smaller the
scale, the more you will have to tone down the colour with
white or light grey to obtain the right "look" in a 1/350
or 1/700 scale model.

***NOTE: The Floquil line of Marine Paints has now been
discontinued!
However, Model Expo has come out with their own version of marine
paints. (John O. Kopf)

***I cannot give you FS numbers (The colors were of a type that
don't fit the FS well) but I can give you some info.
Deck Blue 20-B Stain is of the same color as Deck Blue 21-B --
Well Matched by Humbrol's #79 Blue-Grey or available in
Floquil's new Military series.
Navy Blue 5-N, Ocean Gray 5-O, and Haze Gray 5-H are all
available in Floquil's series, or can be mixed. I've used the
mixes I got from a Scale Models series, which are given here
with new Humbol designators.
--Navy Blue: 2 Parts #104 Oxford Blue to 1 Part #176 Neutral
Grey/Lt. Grey
--For Ocean and Haze Gray, mix a stock of 2 Parts #104, 1 Part
#67 Tank Grey, and 1 Part #34 Matt White.
--Ocean Grey 5-O: 1 Part of Stock + 1 Part #34.
--Haze Grey 5-H: 1 Part of Stock + 4 Parts #34.
I use disposable Polyethylene transfer pipettes as droppers,
which I buy from a scientific supply house in my area. I mix
in the bottles Testors sells five in a package.
Colors you didn't mention are:
--Sea Blue 5-S (and Blue Flight Deck Stain #250): Mix 1 Part
Navy Blue 5-N to 1 Part Ocean Gray 5-O is the best look I've
gotten.
--Markings Stain Gray 251: Same as Ocean Gray
--Light Gray 5-L: 1 Part of Stock + 10 Parts #34
--Pale Gray 5-P: 1 Part of Stock + 25 Parts #34
Sea Blue was a predecessor of Navy Blue. CV-2 Lexington was
in this color when sunk, the CV-5 Yorktown's lower hull was
still painted in it at Midway, and so forth. It was starting
to be replaced by a darker color in the Atlantic even before
Pearl Harbor, the darker color becoming Navy Blue 5-B officially
in June 1942.
The lighter flight deck stain was introduced in October 1941.
The Markings stain was used with it in solid lines, but often
Chrome Yellow (FS 13538 - use 33538 for scale) was used in
blocks, giving the dashed look familiar in photos. Later in
the war you will have to look carefully, since Chrome Yellow,
White, and 251 stain were all used on the carriers' flight
decks for the markings.
Light and Pale Grays were used in the dazzle camouflages of
the 1943-44 period, along with Dull Black, Navy Blue, Ocean
Gray, and Haze Gray.
All of these colors would fade rapidly, and be hard to paint
back on the hull regularly. For fading effects, the blue hue
was lost fairly quickly, leaving a lighter, grayer tone. The
black faded to a medium gray over about 6 months, though it
stayed the darkest color in the camouflage, just to give a
point for relativity. (Mark Shannon)

***Modern USN ships, in peacetime, are Haze Gray on hull and
superstructure vertical surfaces. Decks are Deck Gray (what
else!), which is slightly darker and tends to have a little bit
of blue in it, but fades quickly to a gray not much different
than Haze Gray.
Note that there is a 'non-skid' coating on the <metal> decks
where foot traffic is expected which is a very dark gray (not
quite black) when new, but fades within a couple of months to a
dark gray - but still noticeably darker than the metal deck gray.
Generally, all main deck have this non-skid, except the f'ocsle
area forward of the breakwater. Superstructure decks are painted
metal (deck gray), with 36"-48" wide non-skid paths between
ladders and doors.
All masts and equipment above the funnels, and the funnel caps
themselves are flat black. There are specific exceptions for
radomes (usually left in a light or gull gray) and some
parabolic fire control radars. (Byron Bond)

***According to "The Painters Guide to WW2 Naval Camouflage",
U.S: All horizontal surfaces (metal) were to be painted in Deck
Blue (20-B). Carrier decks were stained 20-B since stains could
provide color while retaining the non-skid feature of fir decks.

Striping was a stain which matched Ocean Gray (5-O).
Japan: Flight decks on carriers and other vessels were initially
in natural wood tan...usually faded to light gray. During 1942,
wood flight deck planking was replaced by a reddish brown
compound material (Floquil #303367 US Earth Red, and 303126
Panzer Red Brown are close). Deck markings: elevators gray,
sometimes outlined in yellow. Aft ramp had alternating red/white
stripes running across ship, circle as aiming point for landing
planes.
Comments: The book has more detail, although it is somewhat
generic. Japanese carriers had green islands on occasion. And I
thought the US had mahogany decks too. I wondered what happened
to all of those Douglas firs. (Bob Sigman)

47. How do you paint and mask camouflage detail?

Okay: How do you do it? I can see that once I assemble my
1/350 DD, BB, and CVE and add all the details, adding the
camouflage measures will be very difficult. How do you mask
fine photo-etched details without breaking them? Is it
necessary to cave in and use a brush (which will reach around
some of the obstructions)? I am a new air-brush user trying to
plan ahead, and I'm darned if I can see how it's done. I want
to add three- and four-colored 1944 camouflage measures to a
Fletcher DD and a Casablanca CVE but I cannot see how to do it
without marring the result, either by over-spray or by pre-
spraying sub-assemblies and then "touching up" after final
assembly. Please, a few hints for a newbie from some of the
more experienced hands? (Rob Robinson)

A. I don't do modern warships myself, being more the sailing
man-of-war fan, but from what I have read in magazines, etc. on
the subject, I guess that the best thing to do is to complete
the basic structure of your model (hull, funnel, superstructure,
gun turrets and so on) and camouflage it *before* adding all
the fancy detail.
Of course, this leaves you with the problem of painting the
fancy details...:) (Staale Sannerud)
***Pretty easy, you paint the "fancy details" with a fine brush
after you've airbrushed the rest. (Paolo Pizzi)

48. How do I translate Tamiya color numbers to Model Master #?
Floquil?

A: There are two sections following:

***This section was provided by Seth Adams.
Here is some information I received from Testor as to paint
conversions for a Tamiya 1/350 USS New Jersey (modern). I am
sure that the same colors can be used for other US warships.

Tamiya Number Name Model Master #
X-10 Gun Metal 1795
X-13 Metallic Blue Closest: 2701, 2702, 2703
XF-1 Flat Black 1749
XF-2 Flat White 1768
XF-7 Flat Red 1705
XF-10 Flat Brown 1701
XF-19 Sky Grey 1728 Light Ghost Grey
XF-24 Dark Grey 1741 Dark Ghost Grey
XF-50 Field Blue No close match
XF-53 Neutral Grey 1725
XF-55 Deck Tan 1742 Dark Tan
XF-56 Metallic Grey 2711 Anthracite Grey Met. -or-
2712 Graphite Metallic
XF-63 German Grey No close match
XF-66 Light Grey 1732

***Floquil no longer produces the Marine Colors.
However, Model Expo no has it's own line of marine paints.

This section provided by Kurt Van Dahm:
Badger Air-Brush Company
CROSS REFERENCE
MARINE COLORS TO FLOQUIL, ETC.

Badger Color Floquil Humbrol Tamiya Model Master
No. No. No. No.

16-401 Anti-fouling Red Oxide 818614 177 XF9 --
16-402 Navy Red 818628 19+ X7* 2718
16-403 Coast Guard Red 818632 153 XF7 1705*
Coast Guard Orange 818634 -- -- 2022
16-405 Deck Tan 818618 110 XF55 --
16-406 Navy Brown 818622 -- -- --
16-407 Quartermaster Brown 818620 -- -- --
16-408 Navy Buff 818624 -- -- --
16-409 Panama Buff 818626 -- -- --
16-410 Navy White 818630 97 XF4 2709
16-411 Deck Green 818616 88 XF26 2028
16-412 Hull Black 818610 33 XF1 1747
16-413 Wrought Iron Black 818656 -- -- --
16-414 Bulwarks Red 818692 153 XF7 1705*
16-415 Caprail Green 818690 149 -- --
16-416 Midship Blue 818688 189 -- 1719
16-417 White 818698 34 XF2 1745
16-418 Slate Gray 818686 -- -- 2133
16-419 Umber 818684 -- -- --
16-420 Yellow Ochre 818680 -- -- --
16-421 Hull Cream 818694 -- -- --
16-422 Windjammer White -- 97 XF4 --
16-423 Windjammer Yellow -- 154 -- 1708
16-424 Windjammer Red -- 174 -- 2724
16-425 Windjammer Green -- 150 -- --
16-426 Windjammer Blue -- 198 X4* --
16-427 Salmon Buff 818678 -- -- --
16-428 Orange Ochre 818682 -- -- --
16-429 Shipyard Rust -- 113 -- 1785
16-430 Shipyard Grimy Black 818602 -- -- 1749
16-431 Deck Red -- -- -- --
16-432 Dark Deck Gray -- -- -- --
16-433 Tug Light Blue -- -- -- --
16-434 Tug Medium Blue -- -- -- --
16-435 Tug Deep Blue -- -- -- --
16-436 Tug Light Green -- -- -- --
16-437 Tug Olive Green -- -- -- --
16-438 Tug Orange -- -- -- --
16-439 Tug Yellow -- -- -- --
16-440 Tug Light Gray -- -- -- --
16-441 Army Corps Engineer Buff -- -- -- --
16-442 Golden Yellow -- -- -- --
16-443 Bright Silver 818654 11 X11 1790
16-444 #5 Std. Navy Gray 818652 -- -- --
16-445 #20 Std. Deck Gray -- -- -- --
16-446 5-L Light Gray Early 1941 -- -- -- --
16-447 5-O Ocean Gray Early 1941 -- -- -- --
16-448 5-D Dark Gray 818646 -- -- 1791
16-449 5-H Haze Gray 818594 128+ XF53 2105
16-450 5-O Ocean Gray Late 1941 818596 -- -- --
16-451 5-S Sea Blue A -- -- -- --
16-452 5-N Navy Blue 818598 -- -- 1719
16-453 Deck Blue 20B 818600 -- -- --
16-454 #82 Black -- -- -- --
16-455 5-P Pale Gray 818650 -- -- 1729
16-456 5-L Light Gray 1943 -- -- -- --

To Match Finish:
+by color number indicates Dull Coat (16-457) final finish needs to be applied.
*by color number indicates Gloss Coat (16-459) final finish needs to be applied.

Note: Color matches are not 100% accurate between brands. Matches are
based on color data available to general public. This information is
provided as a convenient reference for the modeler. Please bring any
errors to the attention of Badger Air-Brush Company.

49. I'd like to mount a pair of models on a mahogany base under
Plexiglas. But the real sticker here is how can I simulate/
duplicate the wake(s) that two ships puttering at 30 knots
through calm seas would generate? (Michael Wolf)

A: Not really answering your direct request (but that never seems to
stop other posters !!) I simulated the calm sea on a 1:700 scale
model of the Tamiya HMS King George V using cellophane.
I wanted to depict her at anchor, with an awning over the
fantail and ships boats scurrying about.
I took a suitable baseboard and roughly painted it in gloss
sea blue. Before the paint dried I got some thin blue cellophane
from an art shop and crumpled it up into a tight ball. Then I
unwrapped and pressed it down onto the blue paint.
As I couldn't get rid of the creases, I was left with air
bubbles between the cellophane and the paint, so that I had a
dark blue color where the cellophane stuck to the paint and
lighter colors where the bubbles were. The effect was most
realistic and looked just like deep water with the creases in
the cellophane acting as a slight swell.
I suppose you could then add the wake using colored gel or
something. (Ken Duffey)

***Artist's acrylic gel medium is the best I've ever seen for
water. I tried resin once, it got so damn hot chemically curing
that it melted my ship model. The gel medium is cool, no
problem. There have been at least 2 articles, in past issues of
FSM, I think on using this stuff. So go find your issues and
read. I won't tie up the net with how to use it.
(Raymond J. Mehlberger)

***Most people use acrylic gel and it works fine with larger
scales (1/350 and up) but IMHO it's too coarse for 1/700. I
used very successfully aluminum foil (you have to make it into
a ball and then spread it on the base you want to use, wood
preferably) painted with dark blue and medium green (both
glossy) sprayed at the same time from two airbrushes (spray
cans would do the same I guess...) To create wakes use ordinary
(white) toothpaste, possibly the cheapest crap you can get for
less than a dollar from Pic'n Save or similar stores.
(Paolo Pizzi)

***I've seen some fantastic dioramas done by Ken Hart of
submarines. Ken uses something called "water glass", which is
the wavy stuff you can get at art supply shops and glass shops.
He actually "glues" it to the base with a thick coat of blue-
green paint, after an initial coat of paint (Both coats on the
bottom side). After gluing the waterline ships to the glass,
he depicts wakes by using 2-part epoxy, which conducts light
and looks remarkably like a ship's wake. He spreads the epoxy
"wake" with a toothpick. See FSM's "Modeling the Second World
War" for Ken's submarine harbor scene. Although the subs are
not "underway", it illustrates how realistic this approach
looks. (Tom Dougherty)

***Try using acrylic gesso. Found at art supply stores, it is
similar to acrylic gel, only gesso is pigmented, it is like
really thick paint. It has a mayonnaise consistency. There is
a dark greenish blue color that should be adequate for the base
color. Just put it on thick with a large brush, and work it
into wave and wake shapes, then stipple it with the brush to
remove brush streaks. After it dries, drybrush it in the usual
manner. Very easy and effective in 1/700 scale. (J. Gordon)

***That works, but I was in the local art supply chain
yesterday and found a new line (or they just started to carry
it!) of Liquitex products:
Liquitex Texture Gels
The line is an assortment of modeling-type mediums. I bought
4....Black Lava(7108), Resin Sand(6608), Natural Sand(6508),
and Blended Fibers(6708). There were several others, 7 or 8
total with other textures. I paid $6.55 each for an 8oz tub.
I haven't had the chance to do anything with them yet, but the
texture on the sample card was amazing. The Black Lava would
make great rocks, etc. for land dioramas, esp. for Pacific
island beaches. I plan to use the Blended Fibers to make
bow/stern wakes. The Natural Sand will make a good prop wash in
the wake as it is very rough and looks 'bubbly' on the sample.
The Resin Sand will make good waves and general water. These
products are water clean-up, but is "water resistant when dry"
meaning you can use the acrylic paints to detail the water's
colors once the base coat is done. (James Corley)

50. I'm wondering if you can "paint" on decal sheets, that is, if
they are plastic. Can you use just any paint, like Floquil?

A: Yes. Clear decal paper is sold both by Micro Mark and Micro
Scale. You will find it much easier to paint your design on the
two-dimensional paper rather than on an unwieldy ship model. Any
hobby paint will suffice, although I find Floquil easiest to use
since it is unaffected by water (can't say that about all
acrylics) and is much thinner than enamels. Use a 50/50 mixture
of Floquil and its thinner, Dio-sol, to hand paint your design.
The process might look like this:
1. Using a sharp pencil, lightly sketch in your design on the
clear decal paper.
2. Paint your design directly over your sketch. Use enough
thinner that brush strokes and lumpy paint are avoided but not
so much that the colors run.
3. Overspray your design with a clear fixative such as Testors
Gloss Cote or Dull Cote to. This binds everything together
into a solid decal.
4. Lightly trace around your design with a new #11 blade to
score through the clear decal film. It's not necessary, or even
desirable, to cut through the paper. Just score through the
film to eliminate it outside the perimeter of your design.
5. Apply this exactly as you would any water slide or wet
transfer decal.
6. The application will be enhanced by brushing on a very
dilute solution of white glue on the spot where the decal is to
be applied to increase adhesion which will eliminate trapped
air which causes "silvering".
7. Use of a decal solvent such as Micro Sol will make the
decal snuggle down over detail and appear painted on.
8. Spray a clear coat of the appropriate gloss or flat finish
after the decal dries.
I've used this process for years with success, and a recent
example is the piratical Captain Kidd character which appears on
both sides of the forward stack on my 1/192 DD 661 U.S.S. KIDD.
Can you imagine painting that on the stacks directly?
(Bob Steinbrunn)

***I'd like to get in on this one, yes, you can paint directly
on decal paper and than use it as a regular decal. You can also
run decal paper through your copier if plain black (or at least
black outlines) will help you. Then of course, you can take your
colored artwork to you favorite office supply store and have them
copy it onto decal paper with their color laser copier. I think
decals made in this way are actually superior to regular decals.
If black or black outlines will help, try this (laser printers
and copiers work for this). Draw your design. If you are doing
it on the computer you can even do the mirror image for the
other side with a click of the mouse. Then print out the drawing
in the proper size. When you run it through the copier, make
twice as many as you need. Apply one set of decals and let them
dry. Use paint to fill in the colors and let that dry. Apply the
second set of decals to clean up all the lines you messed up with
paint. It might sound hoaky but it works.
Ink jet printers will not do the job because the ink "beads" up
and does not dry properly on decal paper. I even tried roughing
the surface of the decal paper with a coat of dull coat spray
prior to trying to print on it with the inkjet. It does come out
a lot better but no where as nice as a laser printer. (Bob
Santos)

51. Where can I get 1/72 scale coast guard decals? I'm building an
hh-60.

A: Superscale #109 carries US Coast Guard markings for the HC-130,
HU-16 and HH-3F. You may be able to adapt these markings for
the HH-60 (if it's not the most recent paint scheme you're
looking for). (Abe Lynn)
***A generic set of Coast Guard markings are available on
Super Scale sheet No. 72-109. Hope this helps.
{P Boyer}

John O. Kopf

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This is the Frequently Asked Questions FAQ (part 10) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###############################################

36. I've seen some beautiful dioramas on occasion, of ships under
full sail. I'm curious how these are generally done. Are the
models used usually waterline models set in a resin sea? Is it
possible (or practical) to have one's cake and eat it too. I.e.
build a full hull model and set it into a premolded bed of
resin so that it could be removed and displayed in the
traditional manner. (Wolff Garritano)

A: I saw that done once. The only problem being that the diorama
was so inclusive that the ship was very small. It left me with
the feeling that it was hardly worth the trouble. Mind you that
I am not talking about the quality of miniature ships that are
out there...rather a "pretty much looks like" model that filled
a space in the diorama. Another thing is setting the ship in a
case with the waterline and above being completely finished
while the below waterline portions were unplanked. Many times
the display case has a wooden separation at the water line,
giving the viewer the sense that he is seeing the model in
X-ray form. Very impressive but again here the secret is in the
manufacture of the case. (Mickey Martelle)

***I have made several ship dioramas and I must say that
generally I make the hulls waterline (or a little lower to
allow for listing etc.) but I have done some that were set into
a Plexiglas sheet that I made to look like the water's surface
and then the underwater parts of the hull can be seen. Unusual,
effective, I get a lot of good remarks on those, but I still
prefer waterline for dioramas. (Bob Santos)

***I will tell you what I am going to *try* on my current
project. I stress try because I have not done this yet.
I purchased a piece of rippled plastic from a surplus store.
It is the type of thing you see on office dividers or bathroom
windows. It has a ripple pattern similar to that you might
expect of waves with a full breeze.
I plan to cut a hole in the plastic the shape of the hull,
drop the hull in (at the appropriate heel), and fix the hull in
place. Paint the "water" appropriately, and add a little bit
of resin around the joint, and -- in theory -- what I should
have is a plane representing the surface of the water. This
should allow a viewer to see a diorama of the ship wearing from
above, and the hull when viewed from the side.
I don't yet know how it will work, but have high hopes. I
have an extra hull of the model I am building (thanks to my
dog, who chewed up the original) and plan to use the ruined
hull (all the damage is above the waterline) to make sure I
have the hole cut right. It's an ill wind. . . (Mark Lardas)

***Your rippled plastic should work fine! One of our club
members uses it all the time. One of his dioramas depicted a
sunken ship and a salvage vessel hovering over it. It looked
pretty good. (Dana McCalip)

***If you go the full-hull route, you might want to consider
wrapping the hull in saran-wrap while you're fitting it to the
water...the saran-wrap will help prevent sticking to the water
medium; I assume you want to remove the hull again later?
(John O. Kopf)

***I read with interest an article in the December 1996 issue
of FineScale Modeler about making "waves" as a display technique
using plastic fluorescent light covers. May be just what you're
looking for. (Tim Jovick)

***I have found plastic sheet with a very good look of real
water. It is intended for the "stained glass" trade. Normal
rippled Plexiglas is too regular in it's ripple to look real.
The other alternative is to surface the Plexiglas (either
rippled or plain) with Acrylic Gel Medium, available at all art
and crafts stores. (Bob Santos)

***I have seen two dioramas that I think were really unique.
The first was a shipwreck on a sandy beach. Looked like the
builder wrecked the hull minus most of the rigging... different.
Also saw a "Cutty Sark" built into the display area as I was
told it was displayed in England. Built the stepped area
(drydock?) out of styrofoam and added landscaping via model RR
trees, Etc. I agree that rippled water makes for a nice X-ray
(?) type diorama that you can see under the water(?).
(Bob Cunningham)

***A few years ago I visited the Fisheries Museum in Nova
Scotia--upstairs they have these models, sitting in acrylic
sheet representing the surface of the water, and they showed
various methods of catching fish using nets, drags etc. by
having the lines going into the "water" and down below the
"waterline", i.e., the acrylic sheet.
Sometimes it's nice to see models like this that tell a story,
show the action in a scene, rather than just sitting up there
on pedestals saying "Here I am, aren't I beautiful". Nice for
a change of pace, anyways, and gets one's attention.
(Rick Fortenberry)

***I must come out of my lurking corner for this one. Is a ship
model on a water base considered a diorama? I build 1/600 Civil
War ironclads and they just don't look right if they are on
brass pegs. Acrylic gel is a much nicer way of displaying them.
To my mind this is not a diorama. If I were to add another ship,
say the Monitor/Virginia, then that would tell a story and I
would say would be a diorama. One ship doing its thing in the
water? Hmmmm, no.
I bring this up because of some contest rules I have
encountered. (Matthew Burchette)

***What constitutes a diorama is a real good question and
probably can have any number of answers which all could be
considered valid.
In my opinion and this is really subjective, a diorama must
tell a story and show a certain amount of action! A ship model
sitting in a plastic or plaster of paris sea represents a ship
sitting in its natural element; that is all. The Wisconsin
Maritime Museum hosts an annual competition and has a diorama
category. In order to put a model in this category there has
to be evidence that the scene portrays action and is something
more than a vessel riding at anchor or simply cruising.
Again, this is only one groups interpretation of what a diorama
should be and I am sure there could many arguments to the
contrary. The museum's whole idea is to encourage creativity
from the diorama entrants. (Dana McCalip)

***Interestingly, this definition is not consistent with any
given in Webster's. In fact, it is in itself contradictory,
since a vessel "simply cruising" is indeed portraying "action".
Is an anchored yacht rolling in a rough sea a diorama?
Certainly there is action portrayed. Is a ship anchored in
calm water but with crew members posed in various attitudes and
accomplishing various tasks a diorama? A sailor hauling in a
line or the cook throwing garbage overboard are certainly
depictions of specific actions.
Like Dana, I suspect that there are many definitions of what
constitutes a "diorama". For me, a model portrayed in its
natural element (water) constitutes a diorama, albeit a simple
one. I've done a number of projects which depict abandoned
boats pulled up along the shore, half sunk, and in various
stages of deterioration. There is certainly no action
portrayed, but the viewer can certainly imagine all sorts of
things leading up to the scene. They do, in fact, tell a story
of sorts. I guess my point here is that, unless you are
concerned about competing in a specific event, why worry about
what your creation is called? If it makes you happy and is
appreciated by others (and clients buy them :-)...), what does
it matter? (Al Ross)

***Your are correct. The terms "at anchor" and "cruising" are
mine and were probably a poor choice of wording. For a number
of years the Wisconsin (formerly known as Manitowoc) Maritime
Museum ship model contest was overrun with waterline models
plopped down in a sea of plaster, rippled plex, and acrylic gel
and that's all. In order to more clearly define the term and to
promote more creativity among the entrants the contest guidelines
called for the vessel to be doing something. Scudding along
under storm canvass, coming up to an anchor buoy or in the
process of sinking, etc., etc., are examples of what the museum
calls "telling a story" etc. Waterline models entered on just
a simulated water base are put in the same category with models
mounted on cradles or pedestals. This rule evolved over the
years and so far there have been no complaints. Again, this is
not to say that this is the only proper way to qualify dioramas
but is just one institutions way of handling it. (Dana McCalip)

***In my opinion a diorama is much more than a ship (or
anything else) in a setting. I picture it being exactly that a
picture. Imagine you being in a hot air balloon passing over an
active cove that has a ship on the ways, a couple leaving for
fishing duties, a few houses, a kid fishing off the dock,
streets, dogs, general store, etc. Then model it all to scale
and viola you have a true diorama. In short the ship is merely
one object in a much larger overview. Many scenes in model
railroad layouts are actually dioramas. (Mickey Martelle)

***If a "Diorama" shows action and / or interaction between
different objects, what is a good name for the "ship on the
water" type of model display that started this whole issue
(i.e., one that does not "qualify" as a diorama; just a boat on
water)? (John O. Kopf)

***I haven't got a copy of the contest rules handy, but I
believe that IPMS qualifies such as "model on base."
(John Snyder)

***How about "Ship at sea" or "ship at anchor" a "fleet of
ships" etc. The point being the type of model could be like
an artist painting in which the title usually tells the viewer
that which he or she is looking at. (Mickey Martelle)

***If you intended diorama involves anything in addition to
the ship and water, Kalmbach publishing has several books for
the railroad modeler on "scenery"; these have a lot of useful
tips. (John O. Kopf)

***As you may have gathered by now, there are lots of ways to
simulate water and waves. In scales like 1:350 that the plastic
modelers use the techniques are very different than in scales
that wooden model builders use. For the plastic techniques,
check out books and articles written by Shephard Paine (I think
that's the spelling) which are available from Kalmbach Books and
FineScale Modeler Magazine.
For wooden scales (isn't Taurus 1:87? - I thought it was
advertised for HO train layouts), here is my method:
First, get hold of some color photos of tugboats (or whatever
craft you are modeling) moving along through the sea. Note the
shape and color ofthe ocean, the bow wave, the trough behind the
bow wave, and the wake. This is what you are trying to reproduce.
After selecting your baseboard, seal it on all six sides with
polyurethane or other waterproof sealer. Lay on your model in
its proper location. If you want it removable, wrap the lower
part with Saran Wrap or other kitchen plastic film. Attach to
the base with a screw through the bottom.
Now trowel on an appropriately thick sheet of plaster of paris.
Smooth it up to the model waterline. As it dries, when it is
firm but not set, sculpt in the larger waves with a smooth edged
butter knife. If the tug will be shown in motion, sculpt in a
wake as well as a bow wave and trough (but be subtle here, they
will be defined with color more than shape).
When the plaster has dried a little more, take a damp sponge and
pad the entire surface to create the small waves. Experiment
with the pressure and orientation of the sponge till you get the
texture that you like. If the plaster gets too hard, wet the
sponge some more to soften. Do the same for the wake, but with
a bit more pressure and orient the sponge with the motion of the
tug.
Once you are satisfied, let the plaster dry for two full days.
Now paint the sea with water colors. There are so many shades
and tones that could be used, depending on whether it is deep
sea, coastal sea, inland lake, polluted harbor, etc., that you
will have to make the final decision. Whatever you choose, lay
on a base coat, then a darker wash for the hollows, then a
lighter wash for the upper portions of the waves and wake. Add
even lighter highlights for the wave tops, wake streaks, and
wherever you think it will add realism. Again let dry
completely.
Now paint the entire sea with a clear high gloss polyurethane
finish. You will be amazed at how this will give depth and
transparency to the sea. Let dry completely.
Finally (at last) go over the extreme tips of the waves where
you want whitecaps, the top of the bow wave and the portions of
the wake near the stern, with flat white paint to indicate foam
above the surface of the sea.
The process takes a while, but the results are very gratifying.
Hope this is helpful (Dan Pariser)

***Those of you who would use a material such as auto body filler
etc. who want to present a full waved effect with the wind
ripping off the tips of the waves need only go to the nearest
fabric shop. There you will find lace-like materials used for
dress making fashion points. A small amount can be had for very
little money. Just before the goop dries stick in carefully cut
lace on edge. The results will be white and ripped off. Makes a
much better looking effect than reading about it . Try it on a
piece of scrap until you get it right and I think you will be
impressed. (Mickey Martelle)

37. How big should cannon be (compared to what's available)?

(Ronald L. Ambs)

A. It has been a while since this question was posed, but I needed
to do some research. My basic problem is that my resources list
the length of the gun from the muzzle to the widest spot on the
gun (at the breech end), not from the muzzle to the end of the
cascable (the button at the end of the cannon).
I'm pretty sure that the lengths quoted by fittings companies
run from the muzzle to the end of the cascable. To account for
the extra distance from case, you need to add two and a half
calibers to the "official" length. One caliber, for this purpose
is equal to the size of the bore.
Further complicating the issue is that smaller guns -- 9, 6 and

4 pounders -- come in a variety of lengths, even during the
American Revolutionary Wars and early French Revolutionary/
Napoleonic period. (The larger guns also started coming in
different lengths during the late Napoleonic period, but
thankfully, he appears to be looking for lengths prior to that
period.)
So here goes:
These values are based on the Blomefield pattern gun of 1796,
used by the Royal Navy. My source is "The Arming and Fitting of
English Ships of War" by Brian Lavery.

24 lbr 18 lbr 12 lbr
Full Size
Length
(inches) 108 108 90
Bore
(inches) 5.823 5.292 4.623
Overall
Length
(inches) 122.5 121.2 101.5

1/8" Scale (1:96th scale)
Length
(inches) 1.125 (1-1/8) 1.125 (1-1/8) 0.9375 (15/16)
(mm) 28.6 28.6 23.8
Overall
Length
(inches) 1.27 (1-1/4+) 1.26 (1-1/4+) 1.057 (1-1/16)
(mm) 32.3 32.0 26.9

(Note that the overall length was the length + 2.5 * bore.)
One thing you may notice is that the standard 24-lbr gun and the
standard 18-lbr gun were the same length. The 18-lbr was a
smidge thinner. The 24-lbr had max. diameter of 21 inches, while
the 18-lbr had a diameter of 19.5 inches. At 1/96 scale, this is
0.015 ("1/64"), the proverbial "hair."
My recommendation is go for the 30 mm guns for the 24 and
18lbrs, and the 25 mm for the 12-lbr. Put a thick coat of paint
on the 24lbrs, and a thin coat on the 18lbrs. (Mark Lardas)

***To the 17th C gunner, a cannon was designed to shoot a heavy
load a short distance, while a culverin was designed to propel a
light load a long distance.
One of the best places to find odds and ends about naval guns
is Robert Gardiner's article on Guns and Gunnery in *The Line of
Battle* in Conway's History of the Ship Series. (IMO, this is the
best encapsulation of this topic to be found). The table he
gives is not exhaustive, but gives these figures.
CANNON OF SEVEN 7 inches bore 47 lb shot (replaced by the 42lbr)
DEMICANNON 6 25 lb (replaced by 32lbr)
CULVERIN 5 18 lb
DEMICULVERIN 4.5 9 lb (Ancestor of the 9lbr)
SAKER 3.5* 5 lb (replaced by 6lbr)
"[Murderers] are small iron or brass pieces, which have chambers
put into them [i.e. breechloaders] and most usefully used at the
bulkheads of the forecastles, halfdecks or steerages. And they
have a pin of iron named a pintle which is put into a stock of
wood, and so they are fastened and traversed. And the main
employment of these murderers is to scour the decks; that is to
murder such men as enter upon the decks at an enemy's boarding."
(Nathaniel Boteler's *Six Dialogues for the Sea Service*.)
(John H Harland)

***In Russia the "artillery pound" as defined by czar Peter I was
the standard measurement in the XVIII and XIX century (more
precisely until the year 1877). The "artillery pound" was defined
as "a cast iron ball having a diameter of two inches and a weight
of 115 zolotniks". From Peter the Great the Russian inch was put
equal to the Imperial = 2,54 cm and "zolotnik" was an old Russian
weight unit = 1/96 Russian lb = 4,2658 grams (before the year
1918 in Russia was still used the old national system of
measurement units).
With this definition, (at least in Russia) the caliber of a
cannon in inches was twice the cubic root of the conventional
weight of the ball: e.g. the caliber of 12, 18 and 24 pounds
cannons was equal respectively to 4" 37/64, 5" 15/64 and 5"
49/64, or in millimeters 116.3, 133.1 and 146.5, very close (only
a little bit bigger) than the figure reported in the post of Marc
Lardas for English ships.
Typical characteristics of naval guns (English, French and
American) are reported also in the book "The line of battle"
(Conway) for the period 1650-1840. For example, referring to the
Napoleonic period some figures are:
Caliber Length Gun weight
(in/mm) (ft-in/m) (Cwt/kg)
Shot weight Powder Weight Remarks
(lbs/kg) (lbs/kg)

24pdr long gun American 5.8/147.3 9-4/2.84 48/2439
24/10.9 8/3.6 Upper deck armament of
big frigates

24pdr congreve British 5.825/148 7-6/2.29 42/2133
24/10.9 8/3.6 Lightweight short gun
used to up-gun

In the scale 1/8" (=1:96) it means about 3 cm. Of course you
have to take into account also the shape, material and appearance
of guns: much simpler iron guns in Napoleonic time, complicated
and decorated bronze guns in XVII century. In the first half of
the XIX century often ships of the Royal Navy had carronades on
the upper deck and, beginning from the Napoleonic time, also
French ships has similar guns. (Davide Ruggi)

***Here are some quotes from Mr Jean Boudriot's 'JOHN PAUL
JONES and the BONHOMME RICHARD', Naval Institute Press, 1987,
ISBN 0-87021-892-1:
"The French Navy of the pre-Napoleonic period still used a
duodecimal system of linear measurement, and weights expressed in
pounds and ounces; however, modern readers familiar with the
'anglo-saxon' measurements of today are in for a rude surprise
if they believe that old French feet or pounds or pints are the
same as those to which they are accustomed!...As a very rough
guide (and by no means always appicable), French measures are
often about 10% larger than their English counterparts." (from
the introductory notes)
and...
"A French pound (livre) weighed 489 grammes; thus an 18-pdr gun
fired a ball weighing 19.42 English pounds (8.81 kgs); 12-pdrs
were equivalent to 12.94 English pounds (5.87 kgs),..." (Note 3,
Chapter 2, p 21). (Info from ot...@aol.com)

38. What are the proper colors for British Ensigns? Were the
Ensigns of British ships really as big as they appear in kits?

A: Not only was the color of the ensign important but also the
configuration of the canton (the union flag design in the
ensign's upper left quadrant). Prior to 1707 the canton was
merely a red cross of St. George on a white background. At the
same time a red cross of St. George was made across the entire
length and breadth on the white ensign. In 1707 with the union
with Scotland the background of the canton became blue and the
white saltire (diagonal cross)of St. Andrew was added to the
ensign. In 1801 there occurred the Act of Union with Ireland
and the red saltire (diagonal cross) of St. Patrick was
superimposed over the saltire of St. Andrew. In addition to the
changes in pattern of the British naval ensign there has been a
definite change of shape since the 17th century. The early
ensigns were almost square being only one-and-a-quarter times
their height in the fly. In the late Stuart navy this
lengthened to one-and-a-half times the height and in a first
rate measured 13.5ft by 18ft. As the years wore on the overall
shape of the ensigns became more rectangular and by 1864 the
proportions between width and length is 1:2. The length of a
flag is correctly stated in breadths, a unit of 9in. In the
18th century there was an admiral aboard his flag measured
9.5ft by 13ft which is very large by modern standards.
Depending on where the ensign was flying also dictated the size.
In 1977 the Nautical Research Society hosted the NRG Conference
in Chicago. The evening's theme was the Royal Navy and HMS
Victory. By some stroke of good fortunate her commanding officer
was kind enough to donate one of Victories foremast ensigns for
display. It was classified a 10 breadth ensign 90in. from top
to bottom. Also at the Conference was a storm ensign, a much,

much smaller flag and made out of very heavy material.
(Dana McCalip)

*** At the 1999 NRG convention, Ray Morton had these comments
regarding the sizing of flag devices for sailing ships for the
period just prior to the American Civil War and earlier (after
that approximate time, standard size flags were being pre-built
by most nations and those sizes were partly outside the scope
of Ray Morton's research -- still, the standard-sized ensigns
and jacks issued to ships were close to being proportional to
the size of the ship as is indicated, below):
In the early United States Navy, the "number one ensign" (the
official designation of the largest national flag worn in an
United States Navy ship and what Ray Morton has coined a "battle
ensign" to indicate its use) was quite large to permit naked-eye
identification of a ship's nationality even when the ship was at
the horizon. Other nations followed the ensign sizing
convention that was used by the early United States Navy or they
used conventions that resulted in flag devices of very similar
sizing.
In the early United States Navy, the traditional size of the
number one ensign was based on the ship's size -- the fly of the
number one ensign (the horizontal length of the flag) was equal
to the full-moulded beam of its own ship. This convention can
readily be seen in the vast majority of historic paintings and
illustrations, made during the age of sail and of good
provenance, for both men-of-war and privateers as well as
merchantmen and packets.
The hoist (the vertical dimension of the flag) was in proportion
to the fly and that proportion varied from nation to nation --
not all ensigns of the various maritime nations are of the same
hoist--to--fly ratio.
When ensigns and jacks were worn that were built proportional
to one of the major dimensions of their own ship, the flag would
not be lost in profile against any ship nor would the flags
overpower the ship either visually or because of wind loading.
A uniformity of appearance from one ship to another also
resulted as a result of such conventions of flag sizing as well
as being able to determine the rate, or size, of a ship from the
flag devices she wore.
Before the age of radio and digital communications, flag devices
were a very important component of communications at sea
throughout history -- and even through World War 2, especially
for fleet and convoy maneuvers during periods of radio silence.
In the early United States Navy, ensigns and jacks were carried
aboard ship in four sizes -- officially designated from "No. 1"
to "No. 4". Their general use, in descending size, was for:
"battle", general "service", "storm", and "anchorage" (these
are the terms Ray Morton coined for his book manuscript "Early
American Maritime Flags & Signals -- 1700-1900", which documents
and illustrates about 2,000 different American maritime flags,
including about 300 different American ensigns). Each
successively smaller ensign had a fly equal to the dimension of
the hoist of the next larger flag. Successively smaller flags
each followed the rule that their fly length was equal to the
hoist of the next larger flag. The sailing ships of Nations
other than the United States had similar suites of ensigns that
appear to be sized with this fly--hoist method.
The jack worn was equal in size to the canton (the canton is the
blue part of an United States ensign) of the largest ensign
currently then being worn -- even when two or more sizes of
national ensigns were simultaneously being worn, it was the
largest ensign's canton size that, by convention, determined the
size of the jack to be worn at the same time (usually from the
fore truck on a three-masted ship). If there was no separate
canton on an ensign, the jack being worn -- as measured in
historic images -- was one-half the hoist and fly dimensions of
the largest ensign currently worn, which resulted in the jack
being one-fourth the square footage of the ensign.
The British Royal Navy used standard-sized ensigns and jacks
that were measured by common bunting widths for different rates
of ships and were very close in size to the moulded beam sizing
for United States and French ships and a brief examination of
historic images of the flag devices for other nations' ships
indicates that the moulded beam convention "generally" holds for
Italian, Spanish, Dutch, Danish, Swedish, and Russian sailing
ships as well. More research is needed to confirm that the
and, perhaps, for even more nations such as the Kingdom of Two
Sicilies, Malta, the Vatican, etc.
The convention derived from the paintings for narrow pennants
came to be: 1/9th the moulded beam in the hoist and 2&2/3rds the
moulded beam in the fly for a one--to--twenty-four ratio. For
the U. S. Frigate CONSTITUTION (44), for example, this would be a
4-ft 10-in hoist and a 116-ft fly. Narrow pennants were
suspended at their hoist by a pennant yard and pennant bridle
when worn, usually, from the main truck in three-masted sailing
ships.
All other flags were of standard sizes but were still very large
compared to what is generally seen in most ship models nowadays.
Ensigns, jacks, narrow pennants, and broad pennants were "worn"
in a ship -- all other flag devices were "flown". One might say
that these are really large flags; however, they are actually the
executed sailing ship models with, sadly, inappropriate "too-
small sized" flags being worn in most of those ship models.
Flag devices were apparently "not" used routinely while at sea
because the flags, which were quite expensive, would become
damaged. They seem to have been worn or flown while in port,
while departing or arriving, on holidays, and upon greeting other
ships at sea under certain conditions.
The modeler should also be aware that there were quite a few
exceptions and variations for early maritime flag devices and
that mass production quality control was "not" a feature of the
flag devices sewn one-at-a-time for sailing ships until starting
about the 1870s or 1880s. The bolt width of the flag cloth may
also have had a bearing on the eventual actual size of any
particular flag.
Every modeler is cautioned to do their own research and to
confirm these findings in authenticated historic images of the
ship and period they are modeling -- or of a similar ship from
the same period when an authenticated historic image from the age
of sail for the model's exact prototype subject can not be
readily obtained.
The conventions for flag devices did change with time -- so, be
careful in doing your research. If one is building a one-masted
or two-masted ship model or a several-masted schooner, do your
research carefully with authenticated historic images to
determine the placement of whatever flag devices were commonly
flown for the period you are modeling. Just because a painting
or a book illustration is "old" does not necessarily mean that
the image is "correct". (Quoted from Ray Morton)

39. What is "lead sickness"?

A: First of all, it has NOTHING to do with the toxic properties of
lead!
Model fittings which contain lead have a bad reputation of
frequently "decaying" after 10-20 years. Current thinking is
that the cause is the presence of Antimony in the alloy. This
metal is used to make the molten metal more fluid. Apparently,
it crystallizes out of the melt as the metal solidifies; the
result is that on the crystalline level dissimilar metals are
in contact (if they didn't separate, the metals would be mixed
at the atomic level). The result is that in the presence of
water (or other chemicals) a galvanic reaction is set up (a
tiny battery is formed) which causes chemical reactions to
occur; the lead oxidizes into lead monoxide PbO, accompanied
by the formation of antimony hydride SbH3 (stilbine) which is
a gas and escapes into the atmosphere. Most "soft" solders
and "type metal" contain both lead and antimony.
An alternative is "Britannia metal" which is 93% tin, 5%
antimony, and 2% copper.
"Traditional" Pewter can contain up to 7% antimony, 20% lead,
4% copper, and the rest tin. Modern Pewter is sold as "lead
free", and so probably doesn't have the problem.
(This description is based on a letter by William G. Webb in
Model Shipbuilder #87.) (John O. Kopf)

***For some reason, many lead compounds commonly used in
making model ship fittings deteriorate after 5 to 20 years,
actually turning to a powdery substance. Therefore, almost
every maritime/naval museum I have had contact with specifies
that no lead alloys may be used in construction of models.
Preferred substitute is called "Britannia Metal," and no, I
don't know the make-up, but Bluejacket, among others, advertise
parts in this metal. (RAlcorn824)

John O. Kopf

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This is the Frequently Asked Questions FAQ (part 11) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###############################################

PAINTING
========

40. Should models be painted or left natural wood?

A: Indeed, it is an artistic decision that must be made by the
builder. In the same category is whether to paint brass parts.
Very, very few parts on a real ship were brass (bronze, maybe,
but not brass). So, one thing to consider would be consistency.
Not painting because of the beauty of the construction material
may say no paint on either wood or brass parts.
This is one advantage of building older ships. Many older
merchant ships, and warships earlier than mid seventeenth
century were painted only in a few areas, oiled on top, and
various tallow mixtures applied below the waterline (that stuff
is really ugly if scale!). A similar "artistic choice" is how
to depict rigging. Many modelers do not add sails for two
reasons. One, it is hard to make good sails, second, some feel
the sails hide some of the detail. Yet, the running rigging
adds much detail to ship. So, many people display (particularly
on warships) model with yards raised and much running rigging
displayed, but no sails. Actually, there may have been times
when this was done for a review or special ceremony, but was not
normal. (Don Stauffer)

***Seriously, you have raised questions to which there are no
"right" or "wrong" answers. I believe that there is no inherent
superiority or inferiority of a model that is painted over a
model that is not painted. That decision is a reflection of the
creator's vision for a model -- what is attempting to be
accomplished?
There are styles that traditionally have called for unpainted
models (Admiralty). There are styles that call for highly
accurate painting (dioramas). There are style that call for
something in between (some of the cutaways ache for portions
being painted and portions remaining bare wood). But they are
exactly that -- styles.
Whether you paint a model, or use bare wood depends upon what
your goals are. If is to create a masterpiece of joinery, or
follow a style such as an Admiralty, unpainted is a probably the
way to go. If it to depict life aboard a 16th century ship, you
probably need to paint it.
As to whether a model is art form or craft, that too depends
upon the intentions of the creator and the interpretations of the
audience. You can get art from traditional craft media (including
modeling or quilting), just as traditional art forms can be used
for crafts. (I'm sorry, but I do not consider either the
"starving artist" massed produced oils or paint-by-number kits to
be anything other than skill demonstrations.)
I occasionally amuse myself by showing some of my models to
local artists in Palestine, TX and listening to them argue over
whether my work is just a craft or whether it is "really art."
While all agree that my stock kits (out of the box) are craft
(then again, so do I), they do debate about the diorama ships,
this is a depiction of a ship" they feel those models qualify as
"art." (Not great art or fine art, just art.) (I don't care
either way. I just enjoy listening to the debate that ensues.)
The main rule to keep in mind is that for most of us this is a
*hobby*. And a hobby, by definition means that you do what you
enjoy. If you enjoy bare-wood models, treenailed to show your
meticulous craftsmanship, go for it. If you enjoy highly
accurate representations, where every knot is correct, you match
colors to the last percentage point, and you even add details
such as brown-colored smears on the hull downwind from the heads,
go for that. Just be consistent to the internal rules that you
set. That is what the hobby is about. (Mark Lardas)

41. I have recently obtained a Lindburg kit (a pirate sailing
ship called the Jolly Roger). It shows that many portions
of the ship (the picture on the box and in the instructions)
are painted in what I figure is a really dark brown color?
The kit says to paint the hull (below the waterline) white?

A: I am sure it varied with era, country, etc. I do know that
around 16th and 17th centuries wood was "oiled" with various
oils for preservation. One of the popular oils was fish oil!
The oils may have been pretty transparent looking as a liquid,
but really darkened the wood, and it aged darker yet.
(Don Stauffer)

***'White stuff' (yes, they actually called it that :) - a
hideous mixture of white lead and a lot of other unpleasant
things.
Usually 'black stuff' (a mixture of tar and something else)
was applied to the ships instead of the white stuff, as it was
cheaper. Models usually show 'white stuff', simply because it
looks better. (Staale Sannerud)

***The "Jolly Roger" by Lindberg represents somewhat, a design
of the late 17th to early 18th century. It is not meant to be
any type of accurate representation.
Be that as it may, the color scheme for vessels of that
period are generally stated herewith.
The external color scheme would be a darkish brown for the
upper works and black wales or rubbing strakes. Vessels of
this period used varnishes and oils for protective coatings;
the varnishes being made from resins and rum distillates. The
blackish coating for the wales was made by adding lamp black to
the varnish.
Below the waterline the color was a dirty yellowish white.
This was a mixture of whitewash tallow and sulfur which was
used to prevent fouling by marine growths and barnacles. Trim
for the upperworks might have been red or blue or other bright
color. The gold trim that is often seen of figureheads, quarter
galleries, and stern decorations was usually just a coat of the
gold colored rum distillate varnish payed over an undercoating
of whitewash. (Dana McCalip)

***Regarding the question about the color of the vessel below
the waterline - Before the late eighteenth century most ships
used tallow bellow the waterline to defend against sea critters
and such.
Tallow included in its ingredients animal fat, and was an off
white color. I've see professional modellers use everything
from very pale beige to pure white for this. The actual color
probably varied over time, and the specific ingredients very
likely depended on who was applying it, when, and where. In
other words, pick an off white color that looks good with your
model.
Something else to keep in mind - most ships dating to periods
where tallow was used - and even later, actually - are known
sketchily at best. In other words, take the painting
instructions with a grain of salt. There are typical color
schemes, however, and many libraries contain books with photos
of model ships (wooden). Find several pictures of several
vessels from the era represented by your vessel and look for
trends. I suspect that most of the dark brown areas on your
model represent stained wood, while the red areas represent
red-painted wood (probably bright red). Over all, the ship
should have a dull to semigloss sheen, eggshell preferred.
(P. Darrah)

***Towards the end of the American Revolution a probable and
most likely color for an American or British warship, privateers
included, would be as follows:
Hull below waterline Tallow
Above waterline Yellow ochre
Wales Black
Hancing pieces and top two or Black, red or blue
three strakes below cap rail
Stern Yellow ochre, with
central panels a
contrasting color such
as slate, red, blue or
black
Bulwark interior Indian red (Floquil
boxcar red)
Hatch coamings Red or brown
Bitts, kevels, staghorns Bright
or any wooden fixture
for belaying
Pump barrels Red, black bright
Gratings Bright
This color scheme is pretty generic and keeping in mind that
there were no rules dictating particular color schemes during
this period. Colors were chosen based on what was on hand as
well as what was durable and economical.

What is "Bright"? ==> "Bright" means varnished wood; often
5-6 coats of varnish; often glossy. (Dana McCalip)

***Until about 1750, blue could only be made from Lapis Lazuli,
a semi-precious stone; this would have made it too expensive for
general ship-board use. (John O. Kopf)

***The two major (historic) pigments for "red" during the 'Age of
Sail' were:
(1) mercuric sulfide -- a bright red, slightly orangish or
slightly bluish (depending on the ore body)
(2) red iron oxide from hematite ore -- "terra cotta", a
railroad boxcar red color (in the family of artists' oil paint
colors such as venetian red, mars red, etc.)
"Red lead" was *not* used.
Terra cotta was used as a primer for both wood and metal and was
considered to be a good preservative for both in the 1700s and
1800s. Many times, one or two coats of "white lead" was
underpainted over the terra cotta primer and under the top color
(colour) coat, which was often cut 50:50 with white lead
(apparently because color pigments were much more expensive and
because, in that ratio, the colors are much brighter in
appearance from my own experimentation with 1812 oil-based paint
formulae).
White lead was a combination pigment of lead carbonate and lead
hydroxide. White lead is a thicker, gooier, and stickier paint
(compared to all the other pigmented paints) and waterproofs
quite well -- it was often used on the outer planking for a
waterproofing treatment, same for waterways and small boat
planking. White lead paint was also used as a marine glue --
especially on small boat caulking.
During the 1800s, there was quite a variability of color of
paints, depending solely on the quality and composition of the
ore body from which the pigments were taken as well as
(sometimes) the processing of the pigment(s).
My information is from an 1812 published book on painting ships
and houses, which includes the formulae for the paints' oil base,
which is different for indoors versus outdoors paints. All of
the paint formulae dry down within one day to dead flatness,
regardless of pigmentation. (Ray Morton)

42. Any suggestions on painting the simple Cutty Sark that is now
underway? I painted the hull and found that the Testors paint
is difficult to use and not see brushmarks...but it is
acceptable as it is...I guess if I am not using an airbrush
that I will see brushmarks...Anyone done this kit? Any advice?
(Ron Giuntini)

A: I've built the Scientific CUTTY SARK and a few others besides,
however, the last time I did a Scientific kit, the hulls (and
much of the other wood parts) were Balsa. I hope they've moved
up to Bass Wood by now.
The first thing I would recommend is to loose the enamels. They
are way too glossy and "plastic" looking for a static sailing
ship model.
One of the best painting/finishing techniques I've found is
based on the use of a good indoor semi-gloss polyurethane sealer
( I like DEFT, but anything along those lines will do) and
Floquil Railroad colors. Before you do anything, do a test
patch to make sure that the polyurethane you're using and the
paints are compatible (that's one reason why I like Deft, it
is). You'll have to mix colors to get the exact shade you're
looking for, but with a little practice, they will produce more
accurate colors for period vessels, than just about any hobby
paints on the market, with the possible exception of the old
"ground in Japan" coach colors, or modern water based artist's
acrylics.
The technique is to first apply a thin coat of the polyurethane.
When completely dry, sand with fine wet/dry paper, wipe off the
dust with a damp rag and apply a second thin coat. When that
is thoroughly dry, sand and wipe that as well. You may find it
necessary to do it a third time, but any more than that and
you'll likely start to obscure detail. Two coats is generally
enough. When the polyurethane is cured, brush on the top coat
of Floquil color. When dry you will see that there are
virtually no visible brush strokes left. I have been using this
technique for more than 15 years and so far have seen no
evidence of peeling, bubbling, flaking or any other sign of
incompatibility. Adding a couple of drops of Floquil Crystal
Kote helps give the paint finish a nice eggshell quality. The
polyurethane gives the added advantage of strengthening the
finish and hardening the surface of the model to impart a degree
of resistance to dings, as well as to reinforce joints.
(Jim Roberts)

43. What are the correct <brand> colors for <specific ship>?

A. It depends!
The primary basis for ship-color choice was cost!
First of all, until very recently, the pigments used for
painting on a ship had either mineral (e.g., iron oxides) or
organic (e.g., tar, lampblack) bases (the first manufactured
chemical pigment, Prussian Blue, first appeared about 1750;
few others appeared until the 20th century).
The mineral pigments were MINED (usually locally) and then
purified (to some extent) - that meant that "red" used in New
England was likely a different shade of color than that mined
in Virginia (go to the hobby shop and look at all the different
shades of "boxcar red" in the train area - the railroads had
the same constraints as the ship owners).
The organic pigments (such as "tar") were also made in
relatively small batches - excessive "cooking" could
significantly change (e.g., darken) the color.
The painters would buy the pigments and make their own paints -
usually enough for one day's work. Thus the colors would vary
slightly from one day to another, depending on the various
components (and even the weather!) As the paint dried out
during the day, or as more solvent was added, the colors
would change again.
The result would be that a particular color on a SINGLE ship
would not be consistent; different ships (especially from
different areas) could be quite different.
Then the colors would WEATHER! (The actual minerals might
not change their color, but the various binders use to hold
them together might darken, yellow, fade, or otherwise
change) - to say nothing of dirt (and rust) accumulation.
Finally, the viewer and his surroundings could dramatically
change the color PERCEIVED - any moisture in the air would
tend to make the colors appear bluish from a distance; so
would increasing the distance. (Some modelers attempt to
compensate for this effect by adding a small amount of
blue-gray to each color used; this "tones-down" the colors
and helps unify them as well.)
That's why there can be no "correct" match between modern
modeler's colors and the "original" - the original itself
would vary a great deal! This hold true even for modern
warships.
A fellow (Ray Morton) in our club once shared his research
into the colors used on the Constitution, and gave the
Pantone references. I don't have the original, but I'd
transcribed it thus ("v" is "value" - I don't know how to
apply it; "P" is the Pantone designation; all colors are
flat unless otherwise specified; I also am not sure if the
fields separated by "/" are alternatives or part of the
designation):
Yellow Ochre: v=5, P=131C
Litharge: v=6/7, P=145C
Vermillion: v=4/5, P=193C
Terra Cotta: v=3/5, P=175C / 1685C
Prussian Blue: v=3/4, P=Reflex Blue C / 296C
Verdigris: v=3, P=330C
Dark Green: v=4, P=350C
Black Lead: v=3, P=405; Satin
Lampblack: v=0.5, P=Process Black C;
Ordinance Black: v=1, Pantone=Process Black C;
Slight Sheen
Perhaps someone with a Pantone Chart can translate these
to standard Paint colors?
Note: one advantage of Pantone is that you can output
Pantone colored documents to a computer color-printer.
(John O. Kopf)

***The Pantone Matching System (PMS) CANNOT accurately
be used for paint, take it from an Ink Sales Representative.
PMS books are produced on special presses by Pantone and
are broken into coated (C) and uncoated (U) sections,
denoting the stock.
Other than Opaque White, lithographic inks are TRANSPARENT
and color is contingent on the stock it is printed on.
The book assumes white and must be replaced often as the
stock yellows, fades etc.. if you want to maintain
consistent color matching. There are also light-fastness
issues with different pigments within a formula to be
taken into account.
Ink pigments do not also always correspond to commercially
available paint pigments. So for what it's worth here's
the breakdown of the above.
131: 92.3 Yellow, 6.5 Rubine, 1.5 Neutral (carbon) Black
145: 86.2 Yellow, 12.3 Rubine, 1.5 Neutral Black
193: 60.6 Warm Red, 36.4 Rubine, 3.0 Neutral Black
175: 54.5 Warm Red, 18.2 Yellow, 11.1 Neutral Black
296: 36.4 Reflex Blue, 36.4 Process Blue, 27.2 Neutral Black
330: 70.0 Process Blue, 10.0 Yellow, 20.0 Neutral Black
350: 45.4 Process Blue, 27.3 Yellow, 27.3 Neutral Black
405: 50.0 Neutral Black, 50.0 Transparent White (replace
with opaque white)
Process Black: Carbon Black with violet, blue toners added
for more density
You will need a PMS book to see what the listed pigments
translate into. (Joe Volz)

*** ThereÕs been a discussion comparing paint names by
{usage} and [names]; ModelExpo prefers usage names mostly
for beginners coming into the hobby; experienced modelers
seem to prefer to go by color names. Here then are both
names ({usage} as shown), as well as mixing instructions...
Blacks
{HULL/MAST} BLACK - Conventional black
IRON {FITTING} BLACK - Black with a touch of white. Sort of
a very dark gray.
Grays
LIGHT {DECK} GRAY - Black plus lot of white
DARK {DECK} GRAY - Black plus less white
{CLIPPER} PEARL GRAY - Black plus white and a touch of umber
{CLIPPER} PEARL BLUE - As above but on bluish side
STONE GRAY - Black plus white plus a touch of yellow
Whites
COOL WHITE - Conventional white
WARM WHITE -White with a touch of yellow
{HULL BOTTOM} TALLOW - Off white, slight yellowish
{DECK HOUSE} CREAM - White and yellow
Buffs
{DECK HOUSE} LIGHT BUFF - white plus yellow plus touch of brown
{DECK HOUSE} DARK BUFF - same different mix
Reds
{BULWARKS/CANNON CARRIAGE} DULL RED - dull red
{SCHOONER BOTTOM} COPPER RED - like venetian red, not as
reddish as dull red
Browns
{BULWARKS} BROWN - dull brown
DEEP BROWN - Conventional artist burnt umber color
Greens
LIGHT GREEN {TRIM} - fairly pale
{BULWARKS FOREST} [DARK] GREEN - green, dark
Yellows
BRIGHT YELLOW {TRIM}- cadmium yellow
PALE YELLOW {TRIM} - cadmium yellow plus white
{HULL} YELLOW OCHRE - tannish yellow
Blues
LIGHT BLUE {TRIM} - ultramarine plus white
MEDIUM BLUE {TRIM} - ultramarine plus less white
DARK BLUE {TRIM} - ultramarine, sort of Navy blue
Gold
ANTIQUE {TRIM} GOLD - a darkened metallic gold
{CARVING GILT} [PALE] GOLD - a darkened yellow, flat not
metallic for carvings
(Ben Langford)

44. I am modeling a Fletcher (Revell 1/305) and was wondering if
anyone could offer some up to date colors, FS numbers, etc.?
A: Floquil has come out with a series of WWII marine paints that
match USN colors:
a. Navy Blue 5-N - (Floquil) 818598 \
b. Ocean Gray 5-O - 818596 |
c. Weather Deck Blue 20-B 818600 |
d. Haze Grey 5-H 818594 | - these are the Floquil
e. Deck House Blue 818704 | part nos.
f. Pale Blue 5-P 818590 |
g. Light Grey 5-L 818592 /
(Rob Robinson)

***Note: Floquil has discontinued its Marine colors. However,
Model Expo is now producing their own set of marine colors.
(John O. Kopf)

***Tom Walkowiak runs The Floating Drydock, a model
shop/reference house (?). He has a vast library of photos of
USN vessels, and can provide 8" x 10" glossies for given hull
numbers and time periods. He also sells U.S. Navy Camouflage
& Markings for $7.99, which lists all the camouflage patterns
used by the USN during WWII. His address is:
The Floating Drydock
c/o General Delivery
Kresgeville, PA 18333
I have his U.S. Navy Camouflage & Markings book. The book is
a fair compendium of everything one would wish to know about
U.S. Navy Camouflage & Markings in WW II. However, if your
worried about ABSOLUTE ACCURACY, you need to determine which of
the hundreds of Fletchers you'll be doing - the camouflage
patterns vary. In fact, The Floating Drydock also sells (for
a few bucks, I think) a list of most USN WWII vessels with the
camouflage measures that each had during the war. The Floating
Drydock sells camouflage sheets for most measures and ship
classes. (Rob Robinson)

***I have both, along with their color chipset. The C&M book
is very useful for things you don't think about until you get
there like the horizontal colors, both decks and undersides of
whatever. Highly recommended, and I only wish there was
something like it for other navies.
BTW, the list of USN vessels/measures is only for those in
measures 31/32/33, not 21 or 22. And they don't mention the
time period. Since ships seemed to change colors like new
dresses, ...
Per the aforementioned "USN Camouflage 1 of the WW2 Era" from
Floating Drydock:
- "After [1946-47] almost all vessels adopted Measure 13,
solid haze gray (5-H) as peacetime paint", until the next set
of regulations came out.
- After March 1953, use either Measure 27 (same as 13, above)
or 17 (also known as 14) which uses Ocean Grey vice Haze Grey.
For both these measures, "all steel decks and all other
horizontal steel surfaces exposed to aerial observation shall
be painted either smooth dark gray deck type A or non-skid
dark gray deck type B. All overheads and the undersides of
all other external horizontal surfaces shall be painted glossy
or base white".
In other words, just like a modern ship, except for details of
the color shades and masting. (Allan "battleships!" Plumb)

***Try Alan Raven's "Fletcher-Class Destroyers", available from
the Naval Institute. There're four different camo schemes
sketched, which show Port and starboard views, deck views, and
sections showing mount & superstructure faces.
{J E Groves}

***Two good refs: Flush Decks & Four Pipes (a classic, now in
2nd edition, and probably available from USNI, Annapolis, MD)
and "The Destroyer Campbeltown", by Al Ross, one of the
"Anatomy of the Ship" series from Conway Maritime Press /
United States Naval Institute (depends on which continent you
call home).
BTW, new and very excellent reference volume on Gearing/Sumner
class DD's just published by USNI. Author is Bob Sumrall, one
of the curators at the USNA Museum. Expensive book, but
Nothing Else Even Comes Close!!! Lots of excellent photos,
drawings, including color renditions. My Dad (departed now
nearly 30 years) was Propulsion Systems Engineer for members of
the class built by consolidated - I have lots of original
white-lines on the ships. Sumrall's book is as good as, if not
better, than having *all* the original documentation, because
he goes into as-built, as-employed details. (RAIcorn824)

***I was struck by how dark gray all the ships were. In most
color photos, US warships seem to be painted light to medium
gray. The color I saw was much darker. Floquil produces a
line of Naval Colors and a close match seems to be Floquil
818652 Battleship Gray FS1640 (yes, 4 digits). (Martin Sagara)

***Nope, the right color is "haze gray", H-5. It probably looked
darker because the weather in Norfolk is usually pretty lousy.
Go to San Diego and you'll have a confirmation of what I'm
saying. (Paolo Pizzi)

***Paolo is right...haze gray is very light, and to my eye, has
no blue tones in it. I served on a San Diego Spruance, and a
color photo of me conning it under the Golden Gate bridge is
right in front of me...the haze gray is slightly darker than
the radome grey, but definitely not a medium gray.
Besides, the same color on a model or miniature will look
darker, so go with the H-5 Haze Grey. I do not recommend the
Battleship gray - way too dark. (Byron Bond)

45. What colors to use on the Revell(?) PT-109?

A: I purchased the Bluejacket 1/48 scale wood model of PT109. It
blows the Revell Model away but still your kit is pretty
accurate. My plans have excellent information about paint.
If you are painting the boat from when it was manufactured to
before JFK took command you would paint it as follows:
1. Deck and all upper surfaces: Dark Gray 5D. This can be
duplicated with Floquil 818646 "Navy Dark Gray".
2. Hull: Navy Gray (a). This can be duplicated with Floquil
818650 "Navy Light Gray".
3. Below Water Line: Coperoid. This can be duplicated using
Floquil Boxcar Red 110074.
If you are painting the boat after JFK took command you would
paint it "MTB Green". This can be duplicated by mixing 4 parts
Ocean Green (5-OG) Floquil 818606 to 1 part Navy Green (5-NG)
Floquil 818608. The Bottom was "Coperoyd" and can be duplicated
using Floquil Boxcar Red 110074 (Railroad Color). (David Waples)
***You are absolutely right so here is a repeat of the e-mail I
sent to Scott.
The color was a Military Green, from the color photo's I've
seen it could anything from a Forest Green to an Olive drab.
Take into account the effect of Sun, salt water, paint variations
and the quality of the photos I don't think anyone could say
"that's wrong".
P.T. 109 was nicknamed "JFK" which was usually painted on the
for'rd deckhouse below the spray screen. 109 did not carry the
large pennant number on the bows, but small numbers appeared on
the front of the wheelhouse, the .50 cal mounts and around the
base of the 20mm mount.
Recommended reading is U.S. P.T. Boats of WWII by Frank. D.
Johnson, which has 2 excellent photo's of 109 lashed to the
deck of a Transport. and seems to show she was green before
shipment to the Pacific. (J.L. Pickstock)

John O. Kopf

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Sep 22, 2001, 7:11:29 AM9/22/01

Archive-name: ship-models-faq/part14
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Last-modified: 22 June 2001

This is the Frequently Asked Questions FAQ (part 14) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###################################################

58. Why do I have more lines than points to belay them? (Ben
Langford)

A. The lack belaying plans on late 18th and early 19th century
vessels has always been a puzzler.
On small vessels does a line really have to belay to a pin?
What about cleats, especially shroud cleats. About 10 years
ago my wife and took a holiday up on Georgian Bay and visited
Penetanguishene, Ontario. There they have a privately run
historical tourist attraction called the "The Historic Naval and
Military Establishment". This, on the site of the old Royal
Naval Base and Military Headquarters for HM Forces during the
latter part of the 18th Century. On the site was an old
building which house a treasure throve of artifacts consisting
of ships rigging gear, tools, etc. all of the period. There
were dozens of shroud cleats on hand and partially hewn bitt
heads. All acceptable substitutes for belaying pins.
Some years ago Chapelle and I were discussing belaying points
on small vessels such as schooners and the like and he indicated
that at times it was not uncommon to take a line around the base
of a deadeye. As long as it would hold and could easily be let
go was his only criteria.
As far as more than one line to a single pin I have always
heard that that is entirely OK and the rule I have been
following is related lines are OK for a common pin. That is
to say a bunt line and a clew line for the same sail could be
put on the same pin. It stands to reason that when the buntline
was let go, the clew would be also. (Dana L. McCalip)

***Another belaying site in this era- at least in the smaller
vessels I have been interested in, is the shroud-lashed pin rail
secured above the deadeyes at about chest height. A very fine
depiction of this format can be found in Merritt A. Edson, Jr.'s
three panel drawing "A Rigging Plan for the Shoreham Cutter, c.
1765, published in "Seaways' Ships in Scale", Volume 4, Number
2, March-April, 1993, on page 73. (Clayton A. Feldman)

***RE: schooners. I just finished restoring a model of a 1930's
schooner yacht. I went crazy trying to figure out the belaying
points for this relatively simple vessel. Chapelle says one
thing (primarily about fishing schooners), and other references,
like Edson's book about the Bluenose, said something else. No
reference I could find (and my library is admittedly incomplete),
had a clear explanation or even generic plan for belaying points.
I even looked at kit plans (such as, for a Revenue Cutter and a
Baltimore Clipper), and they were hard to figure out, incomplete,
or conflicted with what other plans said. I'm sure part of my
problem was that I was looking at references for different
periods and for different types of schooners...but I was
desperate!
Some old full-rigged ship models I have repaired clearly have
some lines "attached" to the shrouds.
Boy, it sure would be nice to have some clear plans for each
basic kind of vessel...at least for schooners and ships. Couldn't
some basic rules of thumb and a generic plan for each type be
presented? (David Blanchard)

***On the Star of India, launched 1863, an iron hulled bark, we
only doubled the bunt lines on a single pin. Shroud cleats, deck
cleats, etc.. were only used for temporary belaying such as
cargo handling or re rigging. I also researched and built a
model of her, circa 1910, and the rig was almost the same. When
she was launched, she was a full rigged ship, and even then
didn't double up lines. From '89 to '93, I sailed three times
and never encountered a reason to double up lines. When Turner's
Bounty was in San Diego, we were asked to bend on a new foresail
(her crew didn't know how) and they had many lines doubled on
belaying pins. It was a nightmare trying to work that way and we
were tied to the dock. I don't see how they sailed that way. In
an emergency, the only thing to do would be to cut the lines, and
then control would be gone. (Bob Cunningham)

***James Lees' book, The Masting and Rigging of English Ships of
War 1625-1860 says that belaying pins in shroud racks dates back
to about 1745 on small ships but was not seen on larger vessels
until the end of the 18th century.
Steel's "Elements of Masting, Rigging and Sail Making" 1794
edition mentions wood and iron belaying pins and the use of
shroud racks but does not mention the size of ships they were
used in. An interesting note is that Steel describes iron
belaying pins as being tapered from the middle towards each end
and driven into boards, called racks. Taken literally, this
sounds like a different shape then what we are used to seeing.
(This is my own comment)
Keep in mind that all of this refers to English practice and
one is left in the dark about American or continental European
practice. It might be almost safe to assume that American
practice could be somewhat similar, given no other information
being available. (Dana McCalip)

***Course sheets are held as far outboard as possible. In many
cases, there is a relief in the bulwark just to accommodate the
lead of the sheet. It was held as far aft as possible. It's
unlikely that a course sheet would be belayed at either fife
rail. (Jim Eagle)

***When I mentioned pins I meant to include both pins and cleats.
Sometimes there is not enough of either one. I also get puzzled
with ships that have cleats on one mast and a fife rail on the
other, yet the two masts have basically the same rigs aloft.
With these inconsistencies there is absolutely no way you can
belay lines in the same location at the two masts. (Ben Langford)

***I'm no expert on period ship rigging, but I am an ex-USCG
Barque EAGLE sailor.
I can understand how difficult it would be to bend on a new sail
with lines doubled up on pins. That operation, however, is
somewhat unusual, and doesn't directly relate to day-to-day sail
handling operations. EAGLE has a pin for every line, but in a
pinch, we could have gotten by with some lines doubled up, such
as the buntlines on the royals, t'gallants, and topsails.
Obviously, certain lines (halyards, lifts, sheets) would need
their own pins to be accessible during normal and emergency
operations. Tending the bunts and clewlines while setting sail,
for example, is a fairly simple task. All you need to do is
ensure that the lines run freely, and don't foul in the blocks.
When setting the royal or t'gallant for example, one person
would handle the 3 lines on the port pinrail (bunt,bunt,clew)
and another would handle the stbd side. This freed up everyone
else to help on the halyard, where they were needed when trying
to set the sail with just the 10-12 man watch section.
So, while modern practice does not necessarily mean anything
when looking at period ships, I do believe that certain lines
could have been doubled up on pins and still handled safely.
(Bill Michaels)

***A very interesting thing I ran across when doing the Bluenose.
Gloucester schooners had shroud bars with pins which gave them
plenty of pins to belay. The Bluenose did not use shroud bars at
all, so they really restricted themselves. Luckily I found
enough pins in the pin rails with some doubling up.
The problem with a generic plan is that you may illustrate it
with enough pins, then when you do your ship which has less pins
you are stuck again. There are some plans around in books and
NRG that give you a general idea. NRG shop notes has the
Constitution and I think a whaler. For fishing schooners you
have Chapelle, so there are those, but as I said I still get
lost on a particular ship. Out of necessity I have to belay a
line where it probably should not go, but what do you do when
all the other pins are used up. I try to juggle back and forth
but this changing drives you crazy.
I made a mistake. I meant to say topsail sheets. They do come
down to the fife rail or could go outboard. The point I was
trying to make is that if you belay the sheets on the forward
cross bar at foremast, and then must belay to the side rail at
main since there is no forward rail, then you have a difference
in the location at fore and main masts.
(Ben Langford)

***According to RC Anderson in "Seventeenth Century Rigging", he
shows as typical at least until the early eighteenth century, as
many as three lines on a pin (e.g. spritsail topsail sheet, spt
tops'l clueline, spt buntline). There were also cleats & kevels
(sometimes lashed to the yards). (Dale Elhardt)

***I participated in the partial re-rigging of the Lettie G.
Howard, a Gloucester fishing schooner now at South Street Seaport
Museum in New York City, back in the late 60's. I don't recall
that we had any difficulty finding adequate belay points for her
even though she did not have pin rails on the shrouds.
(Fred Petillo)

59. How can rigging line be made to hang naturally?

A: Try washing the thread in warm soapy water, rinse it out, and
hang up to dry with a weight on the end so it doesn't develop a
lot of kinks. This will remove any "sizing" that makes the line
stiff. The alternative is "spinning" your own rope from fine
threads -- this is a lot of work but results in very "limp"
rope. If neither of these work, you may also be able to mix up
white glue and water with a drop of detergent (as a wetting
agent), soak the thread, and while still wet apply it to the
model; then let it dry in place using a piece of scrap as a
"form" to give it it's shape. (John O. Kopf)

60. Does anyone have any really good ways to get the fuzz on model
rigging (silk, nylon or cotton) to lay down and smooth out
without varnishing the threads so they become stiff and shiny?
(Robert Godfrey)

A: The traditional method is to draw the lines through a lump of
beeswax; this will bond all of the fibers to the line.
On the other hand, if you're talking about lines ALREADY on a
model, that IS a problem. You might want to try dissolving
some beeswax in turpentine, and paint it on the lines.
Beeswax can be found in fabric / sewing stores - used to
smooth and lubricate sewing thread. (John O. Kopf)

***Your friendly neighborhood notions shop (i.e. Jo-Ann
Fabrics, So-Fro, or any others of that ilk, to include Wal-Mart)
sell a bee's-wax applicator just for waxing thread. It takes
off the fuzz, gives it a semigloss shine rather than a bright
shine, and leaves the thread pliable and fuzzless. They run
less than two bucks. (Cookie Sewell)

***The conventional way is to run the line across the edge of
a beeswax block, For very bad line, run the line *quickly*
through a candle *flame*, then do the wax treatment.
(Clayton A. Feldman, MD)

***How about pulling the threads across a wax candle and then
running them between thumb & finger?
(Simon Craven)

You could try Armor All or a like product. It has worked for
me when cleaning up older uncased models. (J. J. Gordon Jr.)

***You can also find wax at any store selling fly fishing
equipment. It is also used for waxing the thread when tying
fishing flies. (Sten Ekedahl)

***Well, what about "painting" each line with a diluted
solution of white glue? This should "harden" any fuzzballs to
the point where they'd be easier to trim, and any shininess
could be defeated with dullcoat. (John Beaderstadt)

***Thanks for the several responses and good ideas. As John
Kopf observed, I was talking about rigging already on a model,
which, as he says, is quite a different matter and more
difficult problem indeed. For example, I don't know about the
burning off fuzz with a candle flame on the rigging of a
finished model, although the idea sounds good if one were
compelled to use fuzzy line so bad beeswax wouldn't smooth it
down. (Robert Godfrey)

61. Could someone 'in the know' give me advice on how to build small
blocks for model sailing ships? I'm talking about blocks about
1/16 - 3/32 inch in size. What's the recommended technique, what
type of wood is best, etc?
A. Get a long piece of strip stock the same cross section as your
block should look. For instance, if you want a block to be
3/32 high and 1/16 wide as viewed looking straight through the
hole then get a piece of 3/32 x 1/16 x 12 strip stock (or cut
your own!). Round the edges of the strip with sand paper.
Drill the correct number of holes into the stock from the end.
Drill only deep enough to cover the depth of a couple of block.
This will insure that the hole(s) run true. If you try to do
too deep the holes will wander off center.
Now for each block (I usually do 3 - 5 at a time) make a score
around the strip stock to create the groove for stropping the
block. What you are doing is working down the strip stock
creating a few blocks at a time. It is easier to work with
them on the strip.
Now cut each block out separately and round with sand paper.
Finish with stropping of your choice.
v v v grooves around strip for strops
------------------------------
! ! ! |
==!===!===!== < hole
! ! ! |
! ! ! |
-----------------------------
^ ^ ^ cut here when grooves are cut

This is a very simple method but it works for me. If you can
get the hole to run true you can mass produce a number of
blocks at a time this way.
Boxwood is a nice wood to work with but I have has success with
basswood using this method. You need a fine grain so the wood
won't splinter when you drill the hole. (David Loseke)

***Personally, I cheated and bought the ones for my model of
HMS Victory from Model EXPO. They list single sheaves down
to 3/32. I found that 1/8 was the right size for a 1/98 scale.
(George Wallace)

62. In the past I have left sails off my scale ship models because
I have yet to find a suitable material to make them out of.
If anybody has any suggestions, I would appreciate hearing
them. (Chuck Cowman)
A: A traditional material is "drafting linen"; fine linen cloth
'sized' with starch...just wash the Heck out of it and iron it
flat.
Unfortunately, it's almost impossible to find these days,
having been replaced by drafting mylar. (John O. Kopf)

***We static modeling type use drafting linen. Should just be
perfect at pond scales. The sizing needs to be scraped off
after boiling, though. The linen can be lightly spray-starched,
cut into bolt-wide cloths and sewed together full-size fashion.
It's great stuff. (Clayton A. Feldman, MD)

***On really small scale ships Tissue paper that you find in
shoe boxes can work well if your really careful. You fix them
to yardarm jig, turn on a fan, and set with a clear lacquer.
In larger scales I've used fine linen hankies with some success.
These can also be set on a yardarm jig.
{starbuck1}

***I think I just found a solution to this very problem. In my
case it was a set of sails for a RC schooner. I couldn't get
the sails right. I used a tight weave cotton, pure white.
Then to get the ribbing I traced the lines I wanted with a
pencil and sewed along them. Then I dyed the lot with some
stale coffee to get the right color. They really look great.
The only part I'm not satisfied with are the edge seams which I
did with a hem stitch. When I find a way around that, they'll
be perfect, but for now I will say that they look really good.
There is also a guy in rec.models.rc.water who makes sails for
people...you can look him up. (David Shein)

***You forgot to tell what scale your sailing ships are; that
makes a lot of difference. For actual pond sailing models
(about 30") of Gloucester fishing schooners I have had good
success with some plastic cut from shopping bags - not the
opaque white or colored stuff but there are some made from a
translucent (not transparent) sort of gray, tough plastic that
is quite thin. The nice part is that you can use cement rather
than sewing. I lay a bolt rope around the edge and cement a
folded over hem leaving cringles at the corners. Such sails can
be reefed when desired, are light, do not absorb water and
avoid making the boat top heavy.
For ships in bottles, of course, nose tissues work well, can
be stained with tea, stiffened a bit with thinned shellac, and
can be drawn upon.
Unless you are working on a very large scale I expect it would
be hard to find a fabric with fine enough weave and then sew it
finely enough to avoid getting out of scale. (Albert P. Rauber)

***A good friend of mine here does commissioned fine model work,
RR, ships, etc., name is Mark Antczak. You should see his 1/4"
scale Constitution, built as launched in 1797, with the original
stern architecture. Mark has been building for 20 years, has
seen most of the better museum and some of the private
collections, so I value his choices. The best material he's
found for this scale or larger, is a fine cotton shirt cloth
with a subtle, raised ribbing about 3/4" spacing, which
effectively simulates the sewn seams. The source is from the
menswear national chain, Custom Shop Shirtmakers (although
there are not many - sorta like if there's a Brooks Brothers
nearby, there may be a Custom Shop, too). Mark stains the cloth
with tea or other dyes, before cutting the pattern, (washes and
irons it to stabilize it before the above steps) For smaller
scales, some papers may be better. (Bill O'Neil)

***It's NOT a good idea to use tea or coffee to stain sails -
they both contain acids that can rot the sails 30 years down
the road.
However, the Rite Dye people have a color called "tea" that
works just as well, and you can get it in your local supermarket.
(John O. Kopf)

63. What is the best material for sails?

A: The traditional source of sail material ("Drafting Linen") is
now almost unobtainable (replaced by drafting mylar). It was
a very fine fabric, but tended to yellow after a few years (I
have a model that has become dark brown.) A fabric sold by
some of the hobby suppliers as "Balloon Cloth" is really just a
fine canvas, and unsuitable for most work. (John Kopf)
***The following material was provided by William E. Boebert,
Historian, U.S. Vintage Model Yacht Group:
Finding authentic cotton sailcloth for our vintage pond boats
has been a problem since the formation of the Vintage Model
Yacht Group. Bill Bithell, the 80-something years young builder
and sailmaker, used the last of his 1939 bolt of cloth to make
twenty sets of sails for the boats that showed up at the 100th
anniversary regatta of the Marblehead Model Yacht Club in 1994.
(But there were scraps to use to match possible "hits"). After
that the search was on, in the US and overseas, and led me and
the other Group Historian (Charley Williamson) on a merry chase
through mills, defunct suppliers, the Smithsonian, ant the
American Museum of Textile History. Finally, a message to this
list triggered a web search which lead to a supplier in, of all
places, Annapolis Maryland. This person also has some material
which may be of interest to the scale crowd. But first ....
A couple of messages have mentioned "balloon cloth." Herewith
the official description, from an airplane maintenance textbook
of 1940:
"Balloon fabric is used in several applications in aircraft
such as pliable backings for package racks, hat racks, etc.
Light cotton gauze, woven tightly and with great precision, is
run through a rubber mill; the crude rubber is squeezed
through he pores of the cloth and sheeted on both sides. The
rubber is then vulcanized. The threads per inch in warp and
filling vary from 120 to 140 .. the weight of two-ply balloon
cloth is generally 11 ounces per square yard."
Obviously, what we wanted was the material before the
rubberizing process. Not only was this cotton tightly woven,
but it was also made from "long staple" cotton. This is a
special breed of cotton with unusually long fibers. Varieties
are called Egyptian, Sea Island or Pima cotton.
Two things that are *not* balloon cloth: Grade A Aircraft
fabric, which is long staple cotton woven 88 threads per inch
and subject to a strict FAA certification process (and extinct),
and the stuff from Model Shipways I got from Dromedary, which
is about 60 threads per inch.
In the course of our search we turned up a suppliers catalog
with swatches: the material varied from 82 to 126 threads per
inch and 2 to 6 oz per square yard. We got aced out of the last
of mill's run of "down cambric" (a glossary of cotton cloth
terms is at the end of this message). This is a lightweight
cotton cloth used for down pillows and comforters -- the tight
weave is needed to keep the feathers from poking through.
Well, after another bunch of adventures we located some down
cambric in the UK, which was awkward to purchase but at least
available. Then a message to this list mentioned swiss pima
batiste. Did a web search, and got a hit on Kiyo Designs of
Annapolis (http://www.kiyoinc.com/fabric.html). After a bit of
conversation and exchange of samples, Nancy Hoyt (who runs the
place and *really* knows her stuff) found the following
candidates:
Poplin, 150x70 threads per inch, natural
Broadcloth, 150x90, natural (which looks like the stuff for us)
Batiste, 100x100, white
Lawn, 150x150, white
Everything runs about seven bucks a yard (45" wide) except for
the lawn, which is thirteen (same width). All would be suitable
for scale work, being at least twice as fine woven as the Model
Shipways material, fine enough to be translucent. The lawn, in
particular, looks pretty good for furled sails -- it's very fine
and tightly woven. The batiste is a more open weave and would
look good for sails in older boats.
Nancy did a fair amount of digging to find this stuff for us,
and I hope that this message doesn't trigger an avalanche of
one yard orders which would be more trouble for her than it's
worth. The best thing would be if one of the suppliers who are
on this list would buy a bunch and resell it.

Appendix:
Definitions lifted from The Internet Centre for Canadian
Fashion and Design - The Textile Dictionary
* Batiste
Fibre: Cotton, also rayon and wool.
Weave: Plain
Characteristics: Named after Jean Baptiste, a French linen
weaver. Light weight, soft, semi-sheer fabric which resembles
nainsook, but finer. It belongs to the lawn family; almost
transparent. It is made of tightly twisted, combed yarns and
mercerized finish. Sometimes it is printed or embroidered. In
a heavier weight, it is used for foundation garments and
linings in a plain, figured, striped, or flowered design.
Considered similar to nainsook but finer and lighter in
weight. Now usually made of 100% polyester distinguished by
slubs in filling direction.
* Broadcloth
Fibre: Cotton and silk, and rayon. Very different than wool
broadcloth.
Weave: Plain weave and in most cotton broadcloths made with a
very fine crosswise rib weave.
Characteristics: Originally indicated a cloth woven on a wide
loom. Very closely woven and in cotton, made from either
carded or combed yarns. The filling is heavier and has less
twist. It is finer than poplin when made with a crosswise rib
and it is lustrous and soft with a good texture. Thread count
ranges from high quality 144 x 6 count down to 80 x 60. Has a
smooth finish. May be bleached, dyed, or printed; also is
often mercerized. Wears very well. If not of a high quality
or treated it wrinkles very badly. Finest quality made from
Egyptian or combed pima cotton - also sea island.
Uses: Shirts, dresses, particularly the tailored type in
plain colors, blouses, summer wear of all kinds.
* Cambric
Fibre: Cotton, also linen.
Weave: Plain
Characteristics: Soft, closely woven, light. Either bleached
or piece dyed. Highly mercerized, lint free. Calendered on
the right side with a slight gloss. Lower qualities have a
smooth bright finish. Similar to batiste but is stiffer and
fewer slubs. Launders very well. Has good body, sews and
finishes well. Originally made in Cambria, France of linen
and used for Church embroidery and table linens.
Uses: Handkerchiefs, underwear, slips, nightgowns, children's
dresses, aprons, shirts and blouses.
* Lawn
Fibre: Cotton
Weave: Plain
Characteristics: Word derived from Laon, a city in France,
where linen lawn was manufactured extensively. Light weight,
sheer, soft, washable. It is crispier than voile but not as
crisp as organdy. Made with fine high count yarns, silky
feel. Made with either carded or combed yarns. Comes in white
or may be dyed or printed. When made with combed yarns with a
soft feel and slight luster it is called nainsook.
Uses: Underwear, dresses, blouses, night wear, curtains,
lingerie, collars, cuffs, infant wear, shirtings,
handkerchiefs.
* Poplin
Fibre: Cotton, wool, and other textile fibers.
Weave: Crosswise rib. The filling is cylindrical. Two or
three times as many warp as weft per inch.
Characteristics: Has a more pronounced filling effect than
broadcloth. It is mercerized and has quite a high luster. It
may be bleached, or dyed (usually vat dyes are used) or
printed. Heavy poplin is given a water-repellent finish for
outdoor use. Originally made with silk warp and a heavier
wool filling. Some also mildew-proof, fire-retardant, and
some given a suede finish. American cotton broadcloth
shirting is known as poplin in Great Britain.
Uses: Sportswear of all kinds, shirts, boy's suits, uniforms,
draperies, blouses, dresses.
* Sailcloth
Fibre: Cotton, linen, nylon.
Weave: Plain, some made with a crosswise rib.
Characteristics: A strong canvas or duck. The weights vary,
but most often the count is around 148 x 60. Able to
withstand the elements (rain, wind and snow). Sailcloth for
clothing is sold frequently and is much lighter weight than
used for sails.
Uses: Sails, awnings, and all kinds of sportswear for men,
women, and children.

John O. Kopf

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Sep 22, 2001, 7:11:30 AM9/22/01

Archive-name: ship-models-faq/part13
Rec-models-scale-archive-name: Ship_Modeling_FAQ/part13

Posting-Frequency: quarterly
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Last-modified: 22 June 2001

This is the Frequently Asked Questions FAQ (part 13) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
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Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###############################################

RIGGING
=======

52. What can be used for fine rigging line?

A: Traditionally, linen thread has been proven in use for hundreds
of years.

***I went through the same thing and finally found *the* answer:
nylon monofilament fishing line. Use 1lb test and drag it across
the top of a permanent ink marker to blacken it, then attach
it w/super glue. You get the tension, it won't pull loose (well,
not easily) and it looks *great*! (Alexander Ishii):
Mono fishing line is available in different colors, including
"black" (no real need for using the permanent marker).
Generally, however, the various colors are more expensive than
regular fishing line; particularly, if the color is only
available as "tippet" material (a particular kind of fishing
line).

***You can also use fine wire. One source I've found locally
(silicon valley) is a "pulse transformer"...these use copper
wire .005 (more or less). They are frequently encapsulated in
epoxy, but the shell can be broken off and the wire salvaged.
I've not used it, but I understand that tungsten wire is made
for light-bulbs in sizes down to .0005 inch! I also understand
that it is dangerous to work with, because it is so strong that
the possibility of amputation is very real! The ultimate in
"paper cuts". Anyway, one might be able to get a couple of
feet of this from a light-bulb manufacturer and try using it.
Of course, how do you CUT it? (John Kopf)

***Yesterday I went to a fly fishing store to get some rigging
material. They carry a product called "Tippet line" or something
like that. Its a monofilament and you can get it in various
widths. I bought two spools; one was .003" (8X) and the other
.005" (6X). The spools at the place I went (Kaufman's Streamborn
in Seattle) cost US$3.75 each and carry 30 meters of line per
spool. In other words: enough.
I wandered around the store some to see what other things might
be good. I found lead wire of various diameters there also. I
bought two spools of that; one .01" the other .02" for US$1.50
each.
Check out your local resources or Kaufman's has a mail order
service. You can call them at 1(800)442-4359 or FAX (503)
684-7025. (Stephen Tontoni)

***There is not one supplier of ship model rigging line that
sells appropriately sized line for ratlines; it is all too
heavy! The only source I have found for ratline material are
the shops that cater to the fly fishing folks that tie their
own lures. There is a thread on the market that is composed of
a synthetic fiber that comes in varying diameters down to .004.
It also comes in a variety of colors inclusive of black and
ecru. The brand name to ask for is UNI-THREAD. It makes great
looking ratlines and is pre-waxed.
Over the years there has been much discussion about the use of
silk thread for the rigging of ship models. It was always the
same old story; it will rot, decompose or deteriorate. Until I
found out about this new UNI-THREAD, I had been using silk fly
tyers thread for ratlines. This is about 35 years of dead
serious and active ship modeling! Not once did I ever have a
problem with fiber deterioration! If you have an opportunity
to pick up some fine silk thread for ratlines and seizings,
don't hesitate, It will serve you well. (Dana McCalip)

53. How do I make scale rope?

A: Rope is made on a "ropewalk"; the individual strands are twisted
in one direction and the strands then twist themselves in the
other direction as they try to individually untwist (John Kopf)

***(The following description is provided by Bob Laslocky):
Since there is so much interest I thought I would try to get
this off fairly quickly. The following is a description of how
I put my rope walk together. Unfortunately this medium will
not allow me to provide a drawing, but I will try to give you
something of an idea.
To start with I used an old Norelco (Philishave outside the USA)
razor. The first, and most obvious thing to do is to ditch the
metal razor head and the trimmer. What is left is the razor
with just the three plastic drive sprockets/heads (or what ever
you want to call them) I took the razor apart and drilled a
hole in the center of each sprocket the size of stiff wire.
Bend a small hook on the end of a short piece of wire (I happen
to use some annealed wire). Put the wire through the hole,
leaving the hook just a little above the plastic, and glue into
place (I used the thick cyanoacrylate glue).
While you have the razor apart there are two other modifications
that I made. The first modification was to put in a switch to
reverse the motor. This is very easy. The motor is a DC motor
so the only thing you need to do is to reverse the leads. To
do this I used an old slide switch I had. It has been a while,
but I believe it is a double pole, double throw switch. What
the switch looks like is a slide switch that has 3 pairs of legs.
_
| | <--- slide
--------------
----------------------- <--- switch body
left pair of legs ---> | | | <--- right pair of legs
^
Center legs

Slide the switch to the right and the center pair are connected
to the right pair. Slide the switch to the left and the left
pair are connected to the center pair. Wire the leads from the
motor to the center pins. Then wire the leads from the going to
the motor to the left side and then the right side, reversing
the polarity.
This will be VERY useful. The first thing I noticed when I
first put the rope walk together, without any modification, is
that the heads spun in the wrong direction for the thread I was
using. After making the modification and working with different
threads and string I found that they are not always spun in the
same direction, so reversing became a necessity. I also found
that I sometimes needed to back off the twist in the lines a
little as I was spinning up a line.
The second modification is a speed control. Left as is, you
will be able to spin rope effectively, but I found that the
motor ran to fast for my liking. I went to radio shack and
bought the smallest resistance potentiometer they had. This
was still much more than I needed, but it gets the job done. I
wired the potentiometer into one of the wires going from the
center pole of the slide switch to the motor so it would be
able to control the amount of current to the motor. This will
allow infinite control of the speed of the motor. The only
problem I found with this is that at a slower setting there is
enough current to run the motor, but not to start the motor.
There are two ways around this. One is to always start the
motor at 3/4 to full speed and slow it down. The other is to
put a momentary switch in to momentarily short the leads of the
Potentiometer out. This gives the motor a full shot to start
it, then it will slow down to the setting that was being used.
I found the momentary switch works best.
Ok, after reassembly (and finding places to mount the switches
and pot) the razor is ready to go. I built a small rectangular
frame to mount the razor in that was the width of the razor and
the height of the razor. (a little extra height is Ok, it can
make longer runs of rope easier to make up) I mounted the razor
with two screws through the plastic where the trimmer was, just
behind the head. There is a rim around the depression the
trimmer retracted into and it is perpendicular to the head.
This made it an ideal mounting point. I built a second frame
of the same proportions for the opposite end of the rope walk.
The follower was made from an airplane nose cone. The wide
end of the nose cone is about 1 1/4 inches in diameter. I
drilled three pairs of holes evenly spaced around the
circumference near the edge of the wide part of the cone. I
then glued short pieces of brass wire in the holes. These form
the guides for the string. (They will approximately line up
with the heads on the razor when mounted on the rope walk. The
next part is by guess and by golly. I drilled holes directly
opposite each other about 3/4 of the way from the nose to the
back of the nose cone. The holes also need to be made so the
guides will approximately line up with the heads on the razor
and will allow the cone to be balanced in a horizontal
position. The drawing is the best I can come up with here.
You have to imagine the diameter of the circle the guides are
mounted on.
\ \ / / <--------These represent the three
sets of guides for the
thread.
--The O is the approximate tip of the cone
/
------------------O----------------------- <----This represents the
wire guide that slide
| | on the fishing line
| |

Run a stiff wire (I used a thin brass rod) through the holes
and glue it in place. bend the ends of the wire in the same
direction at a 90 degree angle. the distance between the bends
should be about the width of the frame used to mount the razor,
a little larger is OK. The nose cone needs to be in the middle
between the bends.
Screw in eyelets on each side of the frame at about the middle
of the head of the razor. Mount eyelets on the sides of the
second frame at the same height.
Now find a piece wood you can mount the frames on that are the
length you want to make the string (I used a 1 x 2" board).
After the frames are mounted tie a piece of heavy nylon fishing
line to the eyelet on one end and then, pulling the line tight
(use reason here) tie it to the eyelet on the other frame.
Repeat for the opposite side. The wire through the follower
will ride along these lines. I found that if I balance, or at
least come close to balancing the cone so it is parallel with
the lines this works best. I tune the balance by bending the
wire that carries the follower forward and back to get as close
as I can. (This is why the location of the holes about 3/4 of
the way back is a by guess and by golly thing.)
On the second frame, at the end opposite the razor, mount
(glue) a piece of wood you can put an eyelet in at the height
of the 2 eyelets previously put on. Screw an eyelet in the
center of the piece of wood.
One last thing to make up..... For this last piece I use a
snap swivel used for fishing line with part of the clip end cut
off so it forms a hook. (actually I use it for my kites) Tie a
light piece of nylon fishing line about 1/3 the length of the
distance between the frames. fasten a lead fishing weight on
the end of the line.
Confused???? I hope not. Describing this is a lot harder
than I thought. This concludes the making of the rope walk.
None of the dimensions are critical so I left it with
approximations. If more detail is needed I will have to use a
medium that will allow me to use drawings to give better
examples. Now you are ready to spin some up on your own line.
One very large warning, this will take a lot of experimentation,
but when you get the adjustments right, it works great.
To start with, run the line with the weight on one end and the
swivel on the other through the eyelet that is in the center of
the frame opposite the razor and let the weighted end hang.
This will be used to keep tension on the line as you are
spinning it up. Take a thread/string and tie on end to a hook
on one of the heads. (A simple overhand knot will do fine.)
Make the string about the length of the distance between the
frames. Repeat this for each of the other two heads. Now
begins the tricky part. Starting from the heads, take all three
lines together and, sliding them through your fingers to keep
even tension on all three, move you hand to the other end.
Keeping even tension on all three threads (this is the tricky
part) tie them together in a knot. If one line is tighter or
looser than the other two it could cause kinks, or other
problems with the lines.
Hook the snap swivel in the lines at the knot. (It is not
necessary to tie the lines onto the hook, just slip it around a
string at the knot) The weight on the end of the line should
give some tension on the lines. At least enough so they do not
sag down and touch the board or each other.
Now set the follower in the lines so it rests on the heavy
fishing lines it will slide on. Position it so the lines go
through the guides and the nose of the cone is at, or very
near the knot.
Now start the razor. The first thing to check is to be sure
it is spinning in the right direction. If the string is
unwinding it is the wrong direction. As the strings begin to
spin tighter you will notice that the strings will begin to
shorten. be sure not to allow the stings to spin so tight that
they knot up on themselves. I find that If I keep the cone a
little distance from the knot I can see when the lines begin to
spin together. This takes practice. I also find that if I
watch the string and see that it is getting tightly wound I
give the follower a little push to see if the string is ready
or maybe the follower just needed a little push to get started.
This is where running the motor slower really helps. If all
this sounds a little touchy feebly, it is because it is. If
the weight on the line with the snap swivel is too heavy the
line might spin too tight, if it is too light, then it will
spin loosely. This is not as critical as it sounds, but it
will call for some experimentation. There is a point when the
twist is tight enough for the strings to wrap around each other,
then the cone will slide down the line and the string spins
together. I can not emphasize it enough that you will need to
be watching what is going on and you will have to give the cone
a tap here and there keep it going. As the rope spins together
you will notice that line gets shorter.
When the follower gets to, or near to, the heads shut the
motor off. To finish, grab the line at the nose of the
follower with a pair of forceps, or some other clamping device,
and cut the line and tie a knot in the end. If you don't it will
fray out and unwind at the end. I usually soak the line in
water and then let it hang to dry. This will help set the line
so it will not fray on the end when you cut it.
The string you use can and does make a difference, no two are
exactly alike. A longer run also seems to be more difficult to
get right than a shorter run. With this in mind you might want
to start by making shorter lines to get used to how it works.
I would recommend making the rope walk shorter, about 3 to 4
feet long, to start with, then try to make longer runs.
I have also spun up multiple thicknesses with this. Instead
of running one thread from each hook I have run up to 5 lines
from each hook to end up with the desired thickness of the
finished line. I have made up sample cards marked with the
type of thread. how many strands, and the resulting size of the
line. This cuts out a lot of guess work when it comes to
figuring out what you need to make up.
Phew, this turned out to be a lot longer than I thought. I
know there is more to say about this, but I hope this gets the
idea across. I tried to proof read this as I went along. I am
out of time again so I am sending it off as is. If you have
questions about this, or if I left something out let me know.

54. How does one assemble rigging?

A: Normally, one does the "standing rigging" (that which holds up
the masts, etc.) FIRST, and then the "running rigging" (that
which works the sails -- these lines are the ones with PULLEYS).
Because of the complexity of the rigging, it's best to start at
the bottom and center and work your way up and out...if you put
the outer lines on first, then you have to work THROUGH them to
reach the inner lines.
When possible, it's best to apply as much rigging to a mast on
the workbench BEFORE actually mounting it on the model, and
then finishing it off. "helping hands" are useful for such
tasks as putting strops around blocks, but not much help when
working on the model itself. A couple of hemostats (I find mine
at the local flea market) are useful, but I tend to use them
most to attach to the end of a line as a weight to keep it
straight while working on it. Tweezers are also useful, and
a couple of other tools you can make yourself out of knitting
needles and dowels for handles:
Take a needle, mash one end flat, and file a V in the end --
useful to PUSH ropes;
Take another, mash the end, and drill a small hole through it --
useful to thread a line through the hole to work a line through
the rigging;
Take a third, flatten the end, and file a hook on one side --
useful to PULL a line through the rigging.
(John O. Kopf)

***Some of the best little tools I have ever used on boat
rigging came from my mom's sewing basket! Needle threaders are
invaluable for threading the rigging through eyelets. A good
pair of tweezers is a help, but the best kind are the
"reversible" tweezers, the kind that apply pressure when you
are NOT gripping them. Great for guiding tricky threads.
Finally, a good pair of manicuring scissors for the fine
cutting and clipping needed. I have a pair with points so tiny
on them that it is hard to see the cutline they make.
(Aaron Taylor)

55. What is the best material to rig small-scale Resin models?

A: Go to your local fishing supply store and get yourself some of
the "fine" monofilament used for "fly-tying". This stuff comes
in different colors and some of it is so gossamer it's hard to
see. It gives a good "scale effect" in 1:350. (John MacDonald)

***A couple of ideas..
1. Fishing line (smallest breaking strain you can get). Paint
black, or dark grey.
2. Human hair...raid the hairbrush of some long-haired pretty
thing (male or female), preferably blonde, straight hair and
use that.
3. Lady's stocking material -- you know, the nylon filaments --
can be a bit curly though...make sure they are fairly taut!
4. Strands from "knicker elastic"...very difficult to get long
lengths, but gives the finest filament possible...works
superbly on aircraft rigging wires. (Caroline Carter)

***I strongly recommend that you rig last. Otherwise, you're
pretty much guaranteed to damage the rigging. (Larry Luben)

56. How do I install ratlines?

A: My current practice is to install the masts without the yards
but including any masthead platforms. After installing the
shrouds in a prototypical manner, I use the "smallest" gauge
needle I can lay my hands on to sew the ratlines through the
shrouds. In any reasonable scale the prototypical knots will
be virtually invisible if you are using appropriately sized
thread. After the tedious sewing job is done I brush a semi-
gloss black enamel to simulate the tarred seizing of the
shrouds. This also cements the ratlines into place
permanently, so make any needed adjustments before reaching for
the paintbrush!
Stretching the thread and soaking it with a thin wash of white
glue and letting it dry will stiffen it, which may be an
advantage (but real ratlines were NOT straight -- they hung in
curves between the shrouds). (John Bonnett)

***Here are some things I have picked up over the years.
Most shroud/ratline jigs, or performed shroud/ratline sets,
don't really work all that well. It is very hard to get uniform
tension when installing them. Go for true, independent shrouds
and ratlines.
Get a book on rigging - several books on model ships in my
local library have sections on rigging.
Tools -
Several sets of tweezers, including; long set, and
"normally closed" ones.
A hook. Something like a crochet hook (I make my own
out of coat hanger wire, pound the end flat and file
in the hook).
A fork, about same length as hook, made same way.
Both hook and fork should be six to eight inches long.
Work sessions. Do not work too long at any one time, even
when more experienced. If I have not been doing ship rigging
for awhile, I limit myself to 1/2 hour sessions. Never more
than one hour at a time.
Simplify rigging. For a novice, concentrate on standing
rigging. If you are not going to be adding sails, the ship
would appear as in port, or at anchor for an extended period.
One can then omit much of the running rigging. If you do a
fair job at the standing rigging, adding just a minimal running
rigging can result in a very nice looking model.
One problem on plastic models is that you cannot put as much
tension as you might like on lines. So getting EVEN tension is
important. HOWEVER, if you look at photos of sailing ships in
their day, only navy ships were all square and nice. Masts
were really askew on many merchant ships. So if your masts
look more like corkscrews, just claim it is prototypical.
(Don Stauffer)

57. Do ratlines extend beyond the futtock shrouds to the lubbers
hole? Is the futtock shroud tied directly to the main shroud?

A: If there was a top, ratlines would run from the dead-eyes to the
futtock on the shrouds, and thence on the futtocks up to the top.
If, instead, there were just trees instead of a top, the
ratlines would run from the dead-eyes all the way to the trees,
through the futtocks. (John O. Kopf)

***Futtock shrouds are terminated at lower ends in a variety of
ways, depending on which mast, and how large a ship. For
larger masts they usually were NOT tied to shrouds of mast
below. (Don Stauffer)

John O. Kopf

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Sep 22, 2001, 7:11:35 AM9/22/01

Archive-name: ship-models-faq/part15
Rec-models-scale-archive-name: Ship_Modeling_FAQ/part15

Posting-Frequency: quarterly
Expires: Fri, December 28, 2001 00:00:00 GMT

Last-modified: 22 June 2001

This is the Frequently Asked Questions FAQ (part 15) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###################################################

OTHER STUFF...
==============

64. What is meant by "Museum Quality" ship models?

A. This topic has been discussed regularly in the Journal of the
Nautical Research Guild.
Edward P. Von der Porten, former director of the Army, Navy,
and Coast Guard Museum near San Francisco says "A museum
quality ship model is whatever a museum director accepts for a
museum collection". In general, the model (or artifact) must be
able to convey part of a carefully thought out STORY to a
thoroughly analyzed AUDIENCE. If the exhibit concerns ship
"crafts", sailor-built models, half-models, and ships in bottles
may have a role, even if inaccurate.
In a diorama (for example, in the 2-MILE section of Omaha Beach
to be displayed aboard the Jeremial O'Brian, using 1:1200
models), a uniform scale is important (for this example, detail
is not).
On the other hand, Dana M. Wegner reports that the standards
used by the U. S. Navy and Smithsonian have been relatively
unchanged since 1945:
o It is reasonable for a model to last 100 years before
deterioration becomes visible. Resistance to actions of
temperature, humidity, and light is essential...some recently
developed model-building materials and techniques should be
avoided until sufficient time has passed to properly evaluate
their longevity...It is advised that fiberglass resins,
styrene, expanding foams, casting resins, and cyanoacrylate
glues be avoided when other materials can possibly be used.
o 'Workmanship shall be in accordance, in every respect, with
the best model-building practices. Hulls shall be smooth,
fair, and symmetrical; without blemishes, sap pockets, or tool
marks, and shall be scraped and sand-papered to smooth surface.
Machined parts shall bear no tool marks. Castings shall
contain no visible mold marks.'
o Any item with any SCALE dimension of 1/8" or greater must be
reproduced...work must be consistent [no super-detailing of
one part of the model contrasting with lesser levels of detail
elsewhere].
o A great deal is specified about acceptable and required
materials (e.g., 'Propellers should be cast in bronze...
Plastic propellers are not permitted').
o 'Painting of models shall receive careful attention...All
parts of the model shall have a surface treatment representing
the actual vessel if reduced in scale...models shall be spray
painted with opaque lacquer. Paint shall be applied thinly
and evenly so that fine detail will not be obliterated. The
use of metallic paints such as silver or gold is discouraged.
The use of white enamel or natural varnish is not permitted'...
'Wooden parts shall be sufficiently filled and primed so that
when rubbed down, the wood grain is not visible.'
{ The full set of specifications can be found in: Department
of Ship Model Scales and Service. Ship Model Classification
Guidelines [Mystic, Connecticut: Mystic Seaport Museum Stores,
1983] It was also published in part in Ships in Scale 6-34
(March/April 1989)}
-- What this all boils down to is that the purpose of a ship
model is to support a coat of paint of the correct SHAPE! (John
O. Kopf)

*** Write the Mystic Seaport museum. Their definitions are
pretty close to universal, from my experience. By the way,
they also sell your ship models "if" they meet the standards.
Basically, Kit built, kit modified, kit-bashed and completely
scratch. Restrictions also on materials, adhesives, etc. It's
worth the stamp for the information. check your local library
for the mailing address. "directory of American Museums") --
(RAlcorn824)

65. I have a 24-inch wood scale model of a Baltimore clipper that
has accumulated a layer of dust, etc, over the past three
years. Is there any way to clean this (full rigged) model.
One way I was told was to immerse the model in warm soapy
water, then in warm rinse water. However, I have used non-
waterproof glue in building this model. Any one out there have
alternative suggestions? Thanks {radioop99}

A: NO NO! Don't immerse it! There are three main regions you
need to clean, and each requires a different technique.
1) Hull. This is usually not the worst anyway, but a damp (not
wet, damp) rag with just a drop of soap is fine here.
2) Decks, Deckhouses. If you have an airbrush, use it with
just the jet of air. Simultaneously, sweep surfaces VERY
carefully with soft camel hair brush.
3) Rigging. Use airbrush as above. Only very reluctantly, use
a small brush for any really stubborn pieces of lint or dust.
But be even more careful than for deck areas.
If you do not have an airbrush, go to a photo store and buy
one of those cans of compressed air used to clean negatives
before printing. (Don Stauffer)

***I have been watching conservators working on ship models in
the museum I work at. They use one of the cheapest cleaning
fluids available - saliva. Basically, you use a cotton swab on
the end of a toothpick (Q-tip), roll it on your tongue and wipe
the model gently. It takes a while, but you will find it works
amazingly well. It also will prevent water from destroying
your wooden model that may (probably will) happen if you
immerse it in water. I would say that a few hours of
saliva/cotton swabs would be well worth the effort if the model
is valued by you and I bet it is.
These are my views and not the museums. {A Colwell}

***I would be concerned that the enzymes in the saliva might
eventually do harm to organic materials...remember the 5th
grade science demonstration where we were each handed a cracker
and told to chew it up and then hold it in our mouth for 5
minutes? The enzymes started turning the starch into sugar.
Might not the same thing hold for cellulose (perhaps working
slower)? (John O. Kopf)

***The enzymes in the saliva break down relatively quickly.
When you use this technique, you only use a "very" thin layer
of saliva. (I'd hate to see a big old greener on the ship).
The saliva dries in a matter of seconds and leaves only minute
quantities of enzymes. The enzymes themselves only attack
starch molecules and convert the starch to simple sugars.
Saliva should not pose any harm to wood if used in application
I described earlier. As long as the paint is not water based,
(or used starch) there should be no damage.
Interesting comment though. I might see what our conservator
has to say about a lot of expectorate on a wooden ship
model. {A Colwell}

***Just a reminder: Few if any animals have cellulose. Both
bovines and termites depend on microorganisms in their gut to
turn cellulose into simple sugars. The likely problem with
using saliva instead of water (deionized or distilled) is that
a dried mucous film may make the next layer of dust cling a bit
more tenaciously and tap water (like the hard water here in KY)
may leave a mineral haze. (Dean Warden)

***Keep on cleaning with those paint brushes. I have read
articles where modelers claim that they have cleaned rigged
models with a garden hose, or dunked them in the bathroom, all
with no damage. Frankly, I don't believe them.
Soft, small brushes will loosen the dust so that it can be
removed with either a) a small vacuum cleaner or mini-attachment
for your regular vacuum cleaner; b) a can of compressed air,
though you are right to worry about blowing parts off -
experiment first on your hand; c) air from an airbrush, which
can be directed and controlled with much greater precision than
an air can; d) your own breath, which is gentle and precise.
For the rigging, use a 1" wide, soft artists' brush. Go
carefully and stroke along the length of the line and not
across it. If the bristles catch on anything, you are much
less likely to pull a line loose that way.
If you have stubborn dirt on the hull, fittings, or any other
hard piece, try using a small piece of paper towel rolled into
a cylinder about the diameter of a pencil. Wet the end with
water and rub gently. If that does not work, try the same
technique with turpentine, but not on a painted part. If all
else fails, gently scrape off the offending spot with the edge
of a curved hobby blade. I use the paper towel instead of a
Q-tip, since the Q-tip will leave small fibers of cotton on the
model, which you will then have to remove.
For the rigging, if all else fails, give it another coat of
clear finish. This will trap the dirt on the line and will give
it that "realistic" look of working rope.
Finally, put your models in cases. Over time, the dust and
dirt will adhere to your finish and will not be removable
without major disassembly and restoration. A case will also
protect the delicate spars and rigging from inquisitive young
fingers and the occasional house pet.
Keep at it, and good modeling. (Dan Pariser)

***I use an air compressor to remove sawdust, etc. throughout
the entire modeling process. I use the compressor (on low air
flow) right up to the point of dusting before putting my models
in a case and I have had good results. I feel if something is
going to blow-off, it's not properly fastened! (Jeri Koering)

66. Where can I find plans for the Frigate (HMS) Rose?

A: There was some interest expressed a few days ago in using the
modern reconstruction of the eighteenth century English frigate
"Rose" as a subject for shipmodeling. My caution is that since
the Rose is a reconstruction rather than a replica (that is,
a general rather than an exact copy), she is not a good subject
for modeling. It would be better to go back to the builders
original research materials, starting with the British Admiralty
plans of 1756, obtainable from the National Maritime Museum at
Greenwich.
For a very interesting article on the building of the
reconstruction, see "HMS Rose and Providence, Some Lessons
Learned the Hard Way", by John Fitzhugh Millar, in "Seaways",
Vol. II, No. 5, Sept-Oct 1991. You can find out about the
modern ship (or even book passage!) at:
HMS Rose Foundation (203) 335-1433
One Bostwick Ave
Bridgeport CT 06605

***On the net, try: http://www.synergy.net/homeport.html .
(Clayton A. Feldman)

67. How do I get a ship model appraised (for insurance purposes)?

("The Gallery" in Galveston buys and sells only ship models.
The director was the only person I had success locating that
appeared to be able to make an appraisal and issue a certificate
that an insurance company would honor. They appear to be a
reputable outfit and have advertised for quite some time in
"Seaway's Ships in Scale" magazine. IF he is qualified to
perform this duty via photos, I would rather spend $50 and know
my ship is insured than not. I was hoping to hear from others
who may have references for other appraisers and their
respective fees, etc. Although I have never had a model stolen,
I have had plastic models destroyed in moves. The government
only paid the cost of buying a new model, not for the time and
other expenses involved, which is understandable.)

A: Most appraisers are NOT familiar with ship models! As a result,
their "Appraisals" must be taken with a grain of salt. There
are specialists who can do a good job, but they're hard to find.
Several are listed in the FAQ, and if they are not conveniently
located they may be able to steer you to someone in your area.
The fee for an appraisal varies, but is frequently some
percentage of the appraised value. (John O. Kopf)

*** Tricky question, because it's not a heavily populated field.
I would suggest more or less in order the following:
1) curator(s) of the nearest maritime or naval museum.
2) curators of other such museums.
3) Southeby's or other international auction houses. ((Expect
to pay a bill around 10% or the appraised value))
4) Owners/operators of specialty shops in the area
(particularly if you live or sell in a maritime area like
Annapolis, Baltimore, Boston, Charlestown, ...San
Francisco, etc.) If there is a 'port' or 'maritime museum'
nearby, someone has experience selling models.
5) A bank located near a port or historic port area - offer
them one as a 'visual enhancement' to their lobby, etc.,
and find out what the traffic will bear. (RAlcorn824)

68. I'm looking for a tried and true sub plans, preferably, but
will accept any info or suggestions on model subs. All info
will be appreciated.

A. OK, model subs... As with everything else, depends on what
you're after. There are very few polystyrene kits of US WWII
subs (Revell Lionfish) and several 1:700 scale modern subs of
both US and Soviet (Russian) build. There are a few
polystyrene kits of WWII U-boats, type VII and XXII. Both of
these are available with internal components that are displayed
through cutouts in one side. In resin, MB (Blue Water) makes a
series of kits including WWII Gato class, S boat, and a number
of modern subs (SSN, SSBN and Russian Kilo diesel boat).
Supposedly, Tom's Model Works is going to release a resin of
WWII diesels that can be built as Gato, Balao or Guppy versions.
Also a re-release of the Nautilus (SSN-571), in polystyrene.
If you want to do your own through plans or get a really
large size hull (1:96), contact the Floating Drydock in
Kresgeville, Pa. They stock plans for a large selection of
subs and fiber glass hulls (not cheap) for building your own
WWII diesel boat. (Tom Dougherty)

>>>When it dives below water, and you can't see it, what do you
do? Just drive around under water, not knowing where the sub is
or what it is doing, until you decide to surface again?

***This is one of the two most often asked questions about R/C
submarining, the other being "How does it receive radio signals
below the surface?". First, depending upon the clarity of the
water you can easily see the sub at periscope depth (one reason
why we usually have raised scopes), and even lower depths close
in to shore. If you go under too deep then you either surface
(if it's an "active ballast" boat) or you "plane" it to the
surface using either bow or stern planes. In either case, if
the sub stays down too long you want to "blow" ballast, or if
it's a dynamic diver, just stop the motor and let the positive
ballast bring it to the surface.
Second, depending upon the chemical composition of the water,
the boat will receive signals down to as much as ten feet below
the surface if it's fresh water, and 3-5 feet it it's salt
water or chlorinated pool water. (Kerry David)

69. Why do [your choice] cost so much?

A: This is an interesting question, for it illustrates the
trade-offs inherent when your modeling efforts become a business.
I have had some limited exposure with this (I have done some
pattern work for The Scale Shipyard in the past) - and the time
spent on a master is extraordinary. For the last 3 nights I
have been working on a 1/16" 5" twin gun mount. When it is
finished I will have about 9 hours into the pattern. Will it
be perfect? No, I am leaving off some detail that would be
tedious and even more time consuming to put on (rivets, etc)
simplifying other detail (hinges for doors) and only indicate
where other detail goes if the modeler cares to add it (grab
rails). Why? There is a couple of curves here. One is that
adding complexity to a part shortens mold life when dealing
with RTV rubber. Little pieces degrade over time, and it does
not take long for the mold to be useless. My time to build
masters is limited, and the law of diminishing returns applies
here. Lastly, economics plays a part - there is a finite
amount that most modelers will pay for a certain part.
(The really sad thing is when someone puts hours into making
a part, and a modeler buys one and copies it for his models,
or worse, for his friends. It is only through multiple unit
sales that companies can hope to realize a profit - thus keep
it's business - thus produce new stuff. I have been told by
several small casting companies how frustrating it is when a
modeler orders, essentially, one of everything, and then is
never heard from again.)
I hope that the Enterprise kit does well. Chances are even
at that price level he is not planning to retire soon on the
profits. 8-) It remains to be seen what the demand for such
a kit will be. Ultimately modelers have control over the
quality of kits coming out. By supporting ambitious projects
such as this you assure more will follow. If they do not do
well then we must settle for less detailed, simpler kits at a
lesser price.
Aside from the fact that I believe it just about impossible
to 'rip off' someone in the course of a hobby - after all, it
is not a necessity, just a pastime, and if prices go too high
you can choose another - you have a very simple alternative;
scratchbuild.
When making a pattern I start with a chunk of acrylic, shape
it with metal working machines, finish it with wood working
machines and hand tools to a 2000 grit finish, detail the part
using a combination of brass and plastic pieces, individually
made, and then ship it to the manufacturer for production. If
you feel that the finished item is worth it, then purchase it.
If you think prices are too high, then make the items yourself
and then market them at a lesser price - that too is what the
free market is all about. (Kurt Greiner)

****Not to mention the most overlooked fact of all: If a
modeler really wants to build a $1000 ship kit, rather than just
"acquire" it, the number of dollars per hour of entertainment
is probably cheaper than renting a movie on video. A kit of
this magnitude would likely take at least 500 hours to
complete to a reasonable standard, probably more. That seems
to be pretty cheap fun if you ask me. (Hawk137)

***The price of the kit is not an issue. Most of BWN's
products are out of my range, so my only experience is seeing
them at displays of BWN and other vendors at shows. If the
market will support the costs of BWN's products, then so be it.
Hopefully, the escalating costs of unique ships is not a
trend, but if it is, then all of us must be doing quite well.
I understand that R&D, as well as labor and production, are
expensive propositions in today's market, and a business has
the right to make a profit.
As to the assertion that "everyone wants something for
nothing", this is not true, IMHO. Modelers want high quality
kits at fair and reasonable prices. Some may consider $950 a
fair and reasonable price, and others may not, but this
determination is in the opinion of the modeler, and not the
producer. The criticism of the price should have been
expected, and a reasonable response should have been formed
long before all of this transpired. All of this is in the
past though, and hindsight is 20/20, so I agree with the main
point of R. Bartolacc in that we should all get back to the
hobby. (REDBOZO6)

***'Twould be great to have more kits available of ships,
boats, and other things that make their way upon the oceans!
Blue Water is OK (no offense intended) but maybe too expensive
for many of us. As I've posted before, I have reached the
point where I absolutely refuse to purchase Japanese (Tamiya,
Fujimi, Hasegawa, Aokii, SkyWave, etc., kits because of
comments I've read about 'charging as much as the market will
bear.'
What *is* the cost of having injection mold masters made?
After all, for any model, someone along the way has to make a
master (or steal parts!). Perhaps. if we as ship modelers want
access to new kits, maybe this is the time to get together and
develop and market our own - at cost or close to it! We want
the models, and I'm sure we can generate a list of preferences
quickly. Let's get some sort of list generated, talk among
ourselves, make the masters, and do it!
things to consider:
Scales: 1:700. 1:350. 1:192 (or 1:200), etc.
Mixed media; resin + aftermarket details; injected moldings;
wood with plastic/pewter/Britannia details, etc.
Most of us tend to model warships. I would personally like to
have access to a *good* Liberty or Victory or T2 or even C1 in
1:350. Other 'wants' include vessels from the transition
(U.S.Navy) from sail to steam, particularly 1865-1905 period.
We're not a big market, face it! Possibly, if we cooperate,
we can do one heck of a lot more for each other than any *major*
kit manufacturer would ever attempt. Any Ideas? (RAIcorn824)

70. As I prepare for the final rigging on my Thermopylae, I begin
to wonder about a display case. Are there any rules-of-thumb
regarding how much larger than a model's maximum dimensions a
case should be? Certainly too large a case would swallow a
model, but I would imagine one would not want to crowd a model
in a small case. (Bill Boyd)

A: My case-maker tells me "the case should be in proportion to
the model". He's a bit vague on this, but when I get a case
from him, I find he's left about an inch on each end of the
model, an inch on each side, and about two inches on the top.
Just to add something, I asked him for a formula to determine
the cost of a case, maybe something likes L + W + H x some $
figure. I got a similarly vague answer, something like "Well,
it depends..." :) Case-makers can be as persnickety as we
shipmodelers. (Rick Fortenberry)

***I have found that about 1.5"on each dimension of the ship
is fine. By that I mean right and left, front and back, top.
If the main spar is 13" wide the case would be 16" wide.
I no longer put my ships in cases and have gotten rid of the
cases I had. They are cumbersome, take up too much room, and
preclude really viewing the model. With the feather duster
and vacuums I have, the ships are perfectly clean and dust
free. It takes very little effort or time to keep them that
way.
Try it, you can always put a case around the model.
(Stan Kempner)

***Case maker George M. creations, who advertise in Ships in
Scale, recommends 2 inches of clearance all around (length,
width, and height) your model in his nicely done brochure. He
offers custom-built as well as standard size cases in red oak
and mahogany. He, and several other case makers do have a
standard formula for determining case pricing. Measuring case
length, plus width, plus height yields a number of Unit Inches,
times so much per unit inch (depending on material of your
choice) equals price.
Addendum to case pricing: I had a red oak case made by
George M. Creations which I was very happy with. I thought
two inches clearance all around was excessive and would yield
a case which would overpower the model visually as well as
being more expensive. I settled on one inch clearance, and I
have to be VERY careful when casing and uncasing the model.
The case is heavy and has a propensity for swinging into yards
and rigging. (Bob Steinbrunn)

***I have done a lot of looking at this particular thing. What
I look for is to be able to see the entire craft if you are a
little to the side of the case. I concluded that a case about
3" longer on each end is adequate. So if model is 30", make
the case 36". The front is the same but not as much. I use a
case about 2 to 2-1/2" on each side wider. Model ( say the
main yard, is 10 inches. Make the case 15" wide. I have made
many cases and most models look fairly good in these
restrictions. (Ben Langford)

***I find that about 1 inch between the model and the case on
ALL sides is about right. However, I find that the model
looks better if there is a 2 inch gap at the bow...it gives the
impression that the model has somewhere to "go". (John O. Kopf)

71. How do I plank a hull?

A. I think a thorough discussion of planking technology and
methodology would go a long way toward helping beginners overcome
what many perceive as a major roadblock.
I think maybe a little clarification of the term planking belt
may be in order. The primary reasons for dividing the lower hull
into "belts" are two. First, breaking the huge, complexly curved
expanse of the lower hull into smaller areas to be dealt with one
at a time, makes the job easier; easier to comprehend and
therefore easier to accomplish. Second, by making sure that the
battens defining the belts are fair (no kinks, humps, sharp
curves, wiggles etc.), when viewed from several different
directions, you automatically ensure that the finished planking
will lie in fair curves on the hull and the finished job will
look ship shape.
Depending upon the vessel being modeled, there may be anywhere
from two to five belts per side, and each belt may contain
anywhere from three or four to eight or ten planks. It's
usually not necessary to use planking belts above the main wale.
The reason is that the main wale generally follows the sheer line
of the vessel and any wales, moldings, rails and planking above
it will also follow that line (though decks usually do not,
generally being "flatter". This seeming discrepancy can be
confusing and misleading, which is why it's a good idea to try
to understand the hows, whys and wherefores of 17th, 18th and
19th century ship design so that you understand how to deal with
this type of situation). Because everything on the outside of
the hull above the main wale is *parallel* to it (the same
distance apart at any point along the length of the hull), there
is generally no need to taper the planks above the main wales,
so therefore *belting* isn't necessary.
Sheer strake is a term that really applies more to smaller
vessels - especially merchantmen - than to larger warship types.
The sheer strake is usually the uppermost plank of the lower hull
planking (that planking below the level of the main deck and
bulwarks). The sheer strake is often defined by an outboard
molding, or the outboard edge of the plank sheer, covering board,
or even the waterway. Amidships, the sheer strake will generally
run at the level of the deck edge. Forward, it will sweep up
somewhat higher than the main deck. Aft on a flush decked ship
the sheer strake may rise a bit above the level of the deck. If
the vessel has a raised quarterdeck, the sheer strake just runs
out to the transom in a fair sweep.
The Hood Ends of planks are both butt ends, forward and aft,
where the butt seats in a rabbet, either in the stem, the
sternpost, or along the tuck rail on the wing transom.
(Jim Roberts)

72. I am looking at the same task of joggling the deck and never
having done it not sure how to go at it. How does one cut the
margin plank? Looks like a tight spot to make all the small cuts
and what if I miss cut on say the last plank on a run? Is the
margin glued in first, cut first, or mark and cut as you go? I
think I'll call this the Devil plank..... ;-) (Jeff Johnson)

A. I will try and guide you through this. The margin plank is
wider. I would make it at least 1 1/2 times the width of the deck
plank. It is laid against the waterway around the entire
perimeter of the deck. If the curve at the bow won't allow
bending, then you will have to cut the plank to fit the curve and
scarph that into the straight piece.
The joggle cuts are made as you go. When the taper on the end,
called the snipe, reaches a length of twice the plank width, you
start joggling. Lay the plank end in place over the margin plank,
and put a pencil tick mark where the plank crosses over the
margin on the outside. Put another tick mark at the end in the
middle. With a ruler, join the two tick marks and cut. Now use
this as the template for cutting out the margin plank. I use a
combination of #11 knife and small razor sharp chisel. I use a #2
pencil point to darken the edges to simulate pitch caulk. As with
most everything else in good modeling, there are no short cuts.
I would suggest you practice with a scrap deck, and when
comfortable with the process, then go to your model. Actually, it
is more difficult to explain than doing it. (Phil Krol)

John O. Kopf

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Sep 22, 2001, 7:11:48 AM9/22/01

Archive-name: ship-models-faq/part16
Rec-models-scale-archive-name: Ship_Modeling_FAQ/part16

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Last-modified: 22 June 2001

This is the Frequently Asked Questions FAQ (part 16) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###################################################

73. I have been playing around with adding white to colors to achieve
the effect of haze and scale viewing distance from the subject
with a 1/4" scale model.
I have concluded that it is not worth the effort. Also, the
group at the local hobby shop brought up some good points, among
them:
1. Black is black.
2. There wasn't nearly as much air pollution even 50 years ago,
so there would not have been as much effect from haze; and
3. No one can dispute the exact colors because the eyewitnesses
are all dead.
Any opinions from this group? Specifically, is there a scale at
which you would use scale effect, but would not at larger scales?
(Bob Andreotti)

A. In the age of sail there was a tremendous amount of air
pollution from lamp oil, dung, garbage, trash, leaves, wood,
charcoal, and coal being burned for cooking, for heating, and
(later) for steam power. The actual historical atmospheric
pollution load has been measured from its frozen black remains
in the ice layers of both the North and the South Poles. So,
perceived colors during the age of sail would have appeared
more subdued than today - the haze would have been much greater,
as it has been scientifically measured to have been.
To render a scale color, one must add a small amount of the
complementary color (opposite on the color wheel - to gray the
color - black will *not* work to do this kind of graying) and
*then* add white - producing a color that matches the prototype
color when viewed from an actual 75 to 150 feet away for a 1:48
scale model that will be viewed at 18-to-36 inches away (twice
the prototype distance for 1:96, etc.). Scaling the colors for
application on a model, along with using several shades (layman's
term) of the same color (*several* highlight shades and *several*
shadow shades), makes a tremendous difference in making a model
appear to be a prototype that has been reduced in size and is
still in the glaring sunlight (or moonlight, when appropriate as
in a night-time diorama) - rather than a *caricature of a
prototype* in toy colors (single prototype colors applied in
scale ... pity). A side-by-side comparison of two similar or
same models, each painted one of the two different ways, is very
telling - once the difference is seen, toy colors are left
behind.
Why spend a year or more building a model only to cover it with
inappropriate colors, especially colors of only one shade that
happen to be way too saturated and unscaled? Paint your ship
model the same way that a military miniature soldier is painted -
there is absolutely no reason that the painting techniques of
soldiers and ships should be different - for best effect. The
soldier painting technique is not difficult and the results
speak for themselves when they are applied to a scale model ship.
Black is *not* black (same for white) - even in prototype.
Anyone thinking thusly has not been observant, especially for
scale effect. In scale, black is properly a very dark gray
(sometimes cool, sometimes warm - depending on the surroundings)
and white is properly an off-white (showing the various reflected
colorings of its surroundings - not a uniform off-white by any
means).
Get a black poster board and cut it into one square as large as
can be made. From the remaining strip, cut a small black square
as large as the width of the strip will allow. Prop the large
black square on one side of a room. From the other side of the
room compare the perceived black colorings of the two squares
while holding the smaller black square. If they are different,
how are they different? Try this simple experiment again in the
sunlight at the prototype distance for your scale viewing
distance. We did this simple experiment at a South Bay Model
Shipwrights club meeting at night and indoors only - there were
no disbelievers in the need to scale *black* to a dark gray that
was surprisingly much lighter a gray than what was initially
expected.
I hope that someone tries this easy experiment and reports their
findings (to include the distance(s) across the room, and/or the
yard, and the hand-held distance) to this listing.
I have actual paint manufacturing formulae for interior and
exterior paints for the painting of houses and ships that were
published in 1812, to include the exact pigments from early
1800s America. Having made such paints, I can tell you they
were all *dead flat* within a day's drying time - which would
have to be even flatter in scale to appear correct. (Yes, you
must also scale the shine.) The eyewitnesses of early 1800s
American ship paints and their colors are *not* all deceased -
for several have seen my *1812 paints* at South Bay Model
Shipwrights club meetings (southern San Francisco Bay area).
*Every* scale model, regardless of scale, needs its colors
scaled. A scale model is an attempt at creating an illusion
and nothing destroys that effect quicker, except for poorly
executed human figures still on their bases, than poorly executed
painting of the model. Unscaled, saturated colors on a scale
model scream, *Look at me! I-m not real!*
Are tree trunks brown? Mostly *no* - most of them are gray!
The major exceptions are the conifers and the palms. This comes
from seeing - *not* looking with a preconceived, incorrect
notion.
Model paints should have descriptive retail names *not* like
*caprail green* - but like *dehazed and too saturated for scale
caprail green*.
The finalization of *color* is a combined result of the physical
laws of nature and of the physiological and psychological
perception of seeing (not merely looking). One must *still*,
however, be observant in an unbiased manner with no preconceived
notions. We should strive to duplicate what is actually seen ...
rather than what is wanted to be seen ahead of time. Color can
not be described *a priori* - you have to mix-to-match the
prototype color *while positioned* the prototype distance away
from the prototype color that the model will normally be viewed
in scale distance, as above. (Ray Morton)

***Bob, you've just hit one of my buttons;-) There are a number
of factors that affect the way in which we view and use colour,
and what suits one may not suit another. My own preference is
for the judicious use of scale colour, and I rather think a
number of your assertions could be open to comment.
The first thing I would caution anyone against is the simple
adding of white in slavish adherence to some mystical formula
as has been proposed by the model aeroplane press in particular.
There are far too many variables of weather and light for this
to be an effective approach. You need to develop an artist's eye
for what is right - look at paintings and see how much pure black
and white is used, look at the way distance lowers the overall
contrast and shifts any colour toward its complement - reds
tend towards cooler shades, blues to warmer. Add the fact that
over any body of water there is a lot of light scattering and
the effects may be even more noticeable.
Even with this you may get stuck on occasion, which is what
happened to me very recently when trying to scale down a red-
oxide colour which kept going murky brown on me.
Here I really must disagree, black definitely isn't black at
more than a few feet, though it may be less susceptible to the
effects in some conditions. Even a first year art student will
know not to use pure black or white on a painting. If you make no
other attempt at scale colour, I would seriously think about
toning down that black, not with white, but with a warmish light
brown. Similarly let down the white with a drop of grey
Not nearly as much air pollution? Harrumph:-) Well, in some
places maybe but not round these parts - the air's a lot cleaner
than it was 50 years ago. We're also looking at haze caused by
water over sea, which is potentially a rather different
proposition to a blanket of yellow smog in it's effect on
different colours - why do you use a UV filter when taking photos
over water? Remember that haze is only one factor in the scale
colour effect, atmospheric scattering does most of it.
I'd be more convinced by a small scale model where the modeller
had made an effort to just tone things down a little. And, yes,
you can dispute the colours to some extent to the extent that it
was say Home Fleet grey and not Mountbatten Pink - what we can't
do is say that it was painted FS36014 and that is how it looked
at 10:00hrs on the 3rd July 1943, in a sou'wester off the Azores.
That's where the eye of the artist comes in.
It's not so much the scale as the reason for building the model
that would affect my choice of the nature and intensity of any
colouring system.
In case 1 we might be looking at a dockyard model of a Stuart
warship. I'd be very dubious about applying scale colour here,
since the reason for the model was to display natural wood, with
the carving gilded and coloured. Here I'd suggest you might
almost want to emphasize colour, by using artists oils and making
the richness and depth of the colour a feature. Similar reasoning
might be applied to a formally displayed model of clipper with
her yards squared and sails unbent.
Case 2 could be a 1/700th model of HMS Compass Rose, in a sea
setting, weathered and battered by the wartime North Atlantic
gales. Here, I'd really think hard about the use of not only
"scale" colour, but also colour tempered by the grey light which
might further lower the contrast. In this second case we are
really thinking about what is effectively a 3D painting, the
paint serves to give the sense of time and place as much as the
model itself.
In between these two cases are a myriad of possibilities; how
successful the model is will to a large extent depend on how
clear your vision of the final product is. If the approach is
consistently one of displaying craftsmanship to the highest
level all the way though, then scale colour may be superfluous.
OTOH if, like me, you are generally trying to produce 3D
paintings, where the model only serves to give the paint the
right shape, then you might find developing an eye for scale
effects will help breathe life into your models.
Lastly, please do paint her under the same type of light that
you intend to display the model under - artificial light can do
weird things to your carefully chosen mixes.
(Aidrian Bridgeman-Sutton)

74. How do I get decals to "disappear"?

A. First paint the surface with a high gloss. After it dries apply
the decals. Pat them dry once you put them in the right spot.
Let dry at least 24 hours. Then cover the area with a flat coat.
No decal film. (Dick D)

***Here's how I did it when I was supplementing my income by
making and painting model RR equipment.
1. Surface *must* start out as high gloss, so that reflectivity
of surface equals the reflectivity of decal and the surface
finish is as smooth as it can be.
2. Use a large bowl of *distilled* water to avoid hard water
stains.
3. Soak decal completely off the paper. Using tweezers, grab
decal and wash it back and forth carefully so that all trace of
decal adhesive is gone. Lift out carefully and lay on a piece of
blotting paper. With a corner of a paper towel, sop up any water
laying on top of it.
4. Paint the spot the decal is to lie on with decal solvent,
such as Solvaset.
5. Holding your breath (:-)) lift the almost dry decal and place
it carefully on the solvent. Use your good, small brush to move
the decal gently into position and to "tamp" out any bubbles. If
the decal "bridges" a seam (such as a plank groove), don't
despair, just let it dry.
6. (optional) If there is a "bridge", after the decal has dried,
carefully cut it with a fresh scalpel blade (Xacto is too dull
and will tear it). If there is a persistent bubble, "x" it with
the blade. Then paint the decal again with solvent. You can do
this several times on difficult, irregular surfaces.
7. Let dry and harden at least overnight and then spray with
"deglossifier" -- I used to use Testor's Dullcoat, dunno if it's
still made.
As with any modelling technique, practice on scraps before
attempting on your pride and joy. With a little practice, and
good thin decals like the old Champion RR line, you can get it so
that the film just about disappears from view. (Earl Boebert)

***I am a 20 year old college student who has been building
ships for about 10 or so years. My great uncle and I are the
model shipwrights of the family and frequently share our
occasional epiphanies. One method of making those dang water slip
decals actually stick to a model, I happened upon when I grabbed
the wrong brush out of the wrong fluid (This glue like stuff
instead of water). There is a product out there (don't have the
bottle in from of me right now) that I believe is made by
Modelmaster. This stuff is meant to be used to make tiny windows
for airplanes or for gluing in windows without getting fogging or
a opaque look to the run over. This mystery stuff comes in one of
those diamond shaped bottles with the long tip on it. The maker
also makes a glue with a syringe tip in the same type of bottle.
Anyway, all you do is squeeze a bit of this slop out into a
mixing dish (only a bit) and add 2 drops of water from your wet
brush. Stir it up really well now. After your decals have soaked,
go ahead and put them on the model and let them dry a couple of
years (no matter how long they dry I can never get them to
stick). After they are good and dry, take a tiny detail brush and
just apply a bit of it to the surface of the decal, just barely
to applying the decal to a semispherical object in which the
decal always has edges the stick up and look awful. My theory is
that there is some sort of melting that goes on when the glue is
applied and the overall surface tension of the glue actually
pulls the decal to the surface. The glue will dry with a clear
finish, not overly glossy either. If done properly you can not
tell that the stuff was actually applied. I have done this on
ever decal I have ever used for the past year or so now and it
has worked wonders. It is also great to simulate water in buckets
on the deck of a ship. Structurally this stuff is pretty rigid
too. The nearest description of how this stuff works on the
decals is that it laminates them to whatever surface. I hope that
my little tidbit of info may be of some use. (Aaron J Warren)

***Sounds like he's describing something like Microscale Krystal
Klear.
I don't know if Krystal Klear will melt the decal but plastic
model cement would and it's in the RMS FAQ as one of the
techniques for old decals which does not stick but I supposed
Microsol would be a better solution :-)
While we're on the subject of decals, chk out this site:-
http://www.vitachrome.com/vitacal/products.htm for the latest
ink-jet decal paper, avail in August. (Lim Chan Hiok)

***I recently purchased a set of solutions and blank sheets of
decal paper from Microscale, Inc, in Costa Mesa, CA. They sell a
wide range of decals for the model railroad gang, for dollhouse
minature decals, and blank sheets in several colors. They have a
nice catalog which includes this three bottle set of solutions to
be used in the manufacture, application, and finishing of decals.
I did the hull numbers on the Mare Nostrun - A Mediterranean
fishing boat - using pre-printed number sets from their catalog. When finished and sealed, they really did "disappear", even
showing the grooves between the planks through the decal.
I also did a rather elaborate set of panel markings for the
front panel of a home brewed electronic equipment. The panel had
a slightly textured finish which looked like it would present a
problem when applying the decals.
I designed the labels and other markings using Corel Draw and
printed them on blank decal paper on my 5P HP laser jet printer.
They turned out beautifully and really look better than a home
brew silk screening job.
In both cases, I slavishly followed the instructions included in
the Microscale catalog and was very pleased with the results. I
seldom have success on the initial attempt with a new technique
or process, so I'll attribute most of the success to the quality
of the product(s) and the instructions supplied by Microscale.
(Lowell Frazier)

75. I am preparing to rig the guns and carronades on the quarterdeck
and forecastle of the Diana. To date, I have been able to find
good written and pictorial directions for the guns; however, I
cannot find anything specific on rigging the carronades.
(Phil Main)
A. Have a look at the illustrations on page 142 of Brian Lavery's
*Arming and Fitting of English Men of War*. These show breechings
and side-tackles.
The breeching for a 32-pounder carronade was 8" in
circumference, clinched to an eyebolt beside the gunport, and
taken through the loop above the cascabel. [Not spliced, since
they often needed to be replaced in a hurry.] If nothing else,
this should be shown.
According to Douglas *A Treatise on Naval Gunnery* (1855), page
415, 'second-breechings' or 'preventer breechings' were always
rigged on carronades when in action. This was because if a
breeching ruptured or pulled a ringbolt, the piece was liable to
be thrown on its sides and cause damage to the carriage. He says
that the ends of the preventer were taken through holes in the
ship's side and toggled, but does not specify exactly how the
inboard part was rigged. Caruana in *History of English Sea
Ordnance: The Age of the System* Volume 2 page 380, mentions
preventer breechings, but doesn't elaborate. In any case, the
modeler would be better ignoring this item.
The side tackles ran from eyebolts at the rear end of the slide
to eyebolts in the ship's side. The second figure in Lavery's
book show this as a luff-tackle, rigged to advantage ...i.e. with
a velocity ratio of four. The other figure is less clear, since
the artist seems to be showing both outboard blocks overlapping,
but my best guess is that he is representing gun-tackles rigged
to advantage (VR or three). With 32-pounders, luff-tackles seem
more likely, but only the most enthusiastic modeler should be
content with gun-tackles (two single blocks).
No train tackle was needed with a carronade, because it never
needed to be hauled inboard. [The train tackle was so named
because it was secured to the train (trail) or rear of the gun,
not because it had anything to do with training the weapon.]
However, Figure G3/1 on page 109 of David White's monograph on
*Diana*, indicates an eyebolt for a 'training tackle' on the rear
of the carriage, just above the truck. I don't what his authority
this was, but if it is authentic, it suggests that tackles were
used as well as handspikes to train the gun. [I would consider
White a most reliable source]. However once gain, even if one
could find support for training tackles, they would be best
ignored by the modeler. (John H. Harland)

John O. Kopf

unread,

Sep 22, 2001, 7:11:58 AM9/22/01

Archive-name: ship-models-faq/part18
Rec-models-scale-archive-name: Ship_Modeling_FAQ/part18

Posting-Frequency: quarterly
Expires: Fri, December 28, 2001 00:00:00 GMT

Last-modified: 9 September 2001

This is the Frequently Asked Questions FAQ (part 18) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###############################################

100. Are there any ship modeling clubs?

(Note: entries sorted by ZIP code)

***(If you're using a browser, a more complete listing is available at:
http://www.Naut-Res-Guild.org/newsletr/newsltr.html ;
Go there as well for links - being published only once every 3 months,
links within the FAQ go "stale" too quickly. )

USS Constitution Model Shipwright Guild of New England Massachusetts
Meetings: 1st Tuesday of the Month
Contact: Robert D. Laslocky
16A Mayberry Dr.
Westborough, MA 01581-1342
mailto:74562...@compuserve.com

Cape Ann Ship Modelers' Guild Massachusetts
Meetings: 2nd Monday of each month, 7:30 pm
Contact: Secretary, Cape Ann Ship Modelers' Guild, Inc.
R57 Washington St.
Gloucester, MA 01930

The Marine Modelers Club of New England Massachusetts
Contact: Dean Jernstrom
838 Pond St.
Franklin, MA 02038 (508) 520-0340

Minutemen Model Yacht Club Massachusetts
Contact: 33 Rustic Rd.
E. Walpole, MA 02032

Jamaica Pond Modelers' Club Massachusetts
Meetings: Saturdays, 10 a.m. - 1 p.m.
Contact: Joe Perez
P. O. Box 222
Jamaica Plain, MA 02130

Downeast Shipmodeler's Guild Maine
Contact: Roy Wheeler
295 Washington St.
Bath, ME 04011 (207) 442-0097
mailto:ja...@midcoast.com

Connecticut Marine Model Society Connecticut
Meetings: 2nd Friday of each month at 8:00 p.m., in Maxie Hall,
Room 103 at the University of New Haven, New Haven, CT
Contact: Bill Doolittle
17 Ridgeway Road
Glastonbury, CT (860) 633-2705

South Orange Seaport Society New Jersey
Contact: John Gill
5 Mead St.
South Orange, NJ 07079 (201) 770-1784

Philadelphia Ship Model Society Pennsylvania
Contact: Richard M. Austin
21 Lafferty Dr.
Cherry Hill, NJ 08002

Task Force 100 New Jersey
Contact: 129 Evergreen St.
Mt Holly, NJ 08060-1121

Garden State Model Boaters New Jersey
Contact: Dave Kammerer
371 Euclid Ave.
Managsquam, NJ 08736

Ship Lore and Model Club New York
Meetings: 2nd Monday of each month
Contact: Norman Brouwer
South Street Seaport Museum
207 Front Street
New York NY 10038

The Ship Model Society of Northern New Jersey New Jersey
Meetings: 4th Tuesday of each month, Millburn Public Library
Contact: Jim Roberts, Editor (Broadaxe)
59 Connelly Avenue mailto:ssbnd...@earthlink.net
Budd Lake, NJ 07828 (973) 691-2328

Model Shipcraft Guild of New York New York
Meetings: 3rd Tuesday of each month, 7:30-10:30 p.m., Battery
Park Building (next to Staten Island Ferry Slip in
Manhattan)
Contact: John Mango
2012 60th St.
Brooklyn, NY 11204
-or- George D'Elia (201) 332-5631

Empire State Model Mariners New York
Contact: Lou Limongelli
144-10 22nd Rd.
Whitestone, NY 11357

Long Island Ship Model Society New York
Meetings: last Monday of each month, 8pm, Plain Edge Library on Rt.
107, just north of the Southern Parkway at Exit 29N.
Contact: Bernard Vogelman
894 Iris Drive
North Bellmore, NY 11710-1031

Catskill Scale Model Shipwrights New York
Contact: Joe Callejo
408 A Spillway Road
West Hurley, NY 12491

Buffalo Model Powerboat Club New York
Contact: Karl Kalb
2960 Pearce Road
North Tonawanda, NY 14120 (716) 731-9717

Task Force 50 Pennsylvania
Contact: Thomas Fooler
RD #6, Box 56
York, PA 17404 (717) 792-1831

Valley Forge Ship Model Society Pennsylvania
Contact: Ernest Morris
R.D. #4, Box 82
Spring City Road,
Phoenixville, PA 19460-1848 (610) 948-8107

Friends of the Schooner Model Society Maryland
Contact: Commodore:
Melvin A. Conant
P.O. Box 181
Lusby, MD 20657 weekdays: (202) 289-8970
weekends: (410) 326-6835

Solomons Island Model Boat Club Maryland
Contact: 12642 Cheyenne Ln.
Lusby, MD 20657

Maryland Attack Group Maryland
Purpose: Model boating (Mainly R/C combat with the IR/CWCC format)
Contact: Martin Hayes,
1113 Crestview Dr.,
Annapolis, MD 21401

St. Michaels Model Boat Club Maryland
Contact: Commodore :
Robert L. Roberts
P.O. Box 781
Easton, Md. 21601 (410) 822-0943

USNA Ship Model Society Maryland
Contact: Gordon Rowse
877 South Shore Dr.
Burnie, Md 21060

Washington Ship Model Society Virginia
Meetings: 2nd Tuesday of each month
Contact: Vincent McCullough
13899 Ferrara Court
Chantilly, VA 20151 (703) 830-3263
mailto:vincent.m...@trw.com

Historical Miniatures Modeling Club Virginia
Contact: Brian Starkes
601 Bond Av.
Chesapeake, VA 23323 (804) 487-3951

Hampton Roads Ship Model Society Virginia
Meetings: 20:00 hours, 2nd Friday of each month
Contact: Alan Frazer
108-G Indian Summer Drive
Yorktown, VA 23693-1034

Carolina Maritime Society North Carolina
Meetings: Last Saturday of each month at 2 pm in the North Carolina
Maritime Museum
Contact: North Carolina Maritime Museum
315 Front Street
Beaufort, NC 28516-2125 (919) 728-7317

Jacksonville Ship Model Club Florida
Meetings: 2nd Tuesday of each month
Contact: Jacksonville Maritime Museum
PO Box 24473
1015 Museum Drive, Unit 2
Jacksonville, FL 32207

Shipcrafters Florida
Contact: 3300 N State Rd 7
Box C277
Hollywood, FL 33021

North Palm Beach County Model Club Florida
Contact: Dan Seaman
119 Brookhaven Ct.
Palm Beach Gardens, FL 33418 (407) 622-8358

Tampa Bay Ship Model Society Florida
Meetings: 7:00 p.m., 4th Tuesday of each month in the Bayonet Point
Community Center in Tampa, Florida.
Contact: Walker Roberts
Box 4148
Tampa, FL 33677 (813) 875-3422

Old Frigates Ship Modelers Florida
Meetings: 1st Thursday of each month
Contact: (352) 854-7713; -or- (352) 854-8147

The Southwest Florida Shipmodeler's Guild. Florida
Meetings: Every 4th Thursday at 2PM at The Golden Gate Community
Center, Naples, FL
Contact: John Weliver, 6552 Highland Pines Cir.
Ft. Myers, FL 33912 (941) 561 5777
-or- mailto:jwel...@att.net

Suncoast Ship Model Society of Spring Hill Florida
Meetings: 7:00 pm at Week Wuchse Acres Senior Citizen Club
Contact: Neil A. Brothers
9096 Jena Rd.
Spring Hill, FL 34608 (352) 686-8640

Maritime Modelers Inc. Kentucky
Meetings: Every 2nd Thursday, Covington Fire Fighters Building
Howell Ave. and 23rd St, Covington KY 7 p.m.
Contact: Maritime Modelers Inc.
63 Linet
Highland Heights, KY 41076

Columbus Santa Maria Model Ship Builders Guild Ohio
Contact: Columbus Santa Maria Model Ship Builders Guild
c/o Richard J. Lott
4567 Westport Road, Apt. 3
Columbus, OH 43228 (614) 279-3459

Society of Model Shipcrafters of Great Lakes Historical Society Ohio
Contact: Dave Stevens mailto:body...@aol.com

The Cincinnati Model Boat Club Ohio
Contact: Commodore: David Wedig (513) 573-9708
Vice Commodore: Brian Blazer (513) 941-4013
Treasurer: Walt Brater (513) 481-6697
Secretary: Rich Jones (513) 232-4133
Cincinatti, Ohio

The Admirals Indiana
Meetings: 2nd Thursday of each month, 6:30 pm, at Nora Public
Library, 8625 Guilford Avenue, Indianapolis, IN 46143
Contact: Dave Hampton (317) 826-9118

Mid-Michigan Scale Model Ship Association Michigan
Contact: 6734 Gleason
Kalamazoo, MI 49001

Midwest Model Shipwrights Illinois
Meetings: 3rd Wednesday of each month
Community Presbyterian Church
407 Main Street
Mt Prospect, IL 60056
Contact: Bob Filipowski
(847) 394-0757
mailto:bfili...@valspar.com

Scale Model Shipmasters Illinois
Meetings: 1st Sunday of each month, May thru October, from 10am
to 4 pm on Lake Arlington; Other meetings at the
Ship Chandler.
Contact: The Ship Chandler
518 E. Northwest Highway
Mt. Prospect, IL 60056
-or- call Gos or Dick: (847) 577-8044

North Shore Deadeyes Illinois
Meetings: At the Lutheran Church of the Ascension
460 Sunset Ridge Road
Northfield, IL 60093
1st Tuesday of each month, at 7:30pm.
Contact: Richard K. Williams, M. D.
2924 Acorn Lane (847) 559-8535
Northbrook, IL 60062 mailto:shi...@mcs.net

Watts Wake Scale Radio Control Club Illinois
Meetings: Meets the 2nd Wednesday Evening at 7:00 PM at the
Oak Brook Terrace Park District Heritage Center
1S 325 Ardmore Avve.
Oak Brook Terrace, IL.
Contact: Kurt Van Dahm mailto:kurt...@voyager.net
237 South Lincoln St.
Westmont, IL 60559-1917 (630) 968-3189

Nautical Research and Ship Model Society Illinois
Meetings: 2nd Saturday of each month, @ 7:30 pm at the Rich Port
YMCA at Ogden Avenue at LaGrange Road, LaGrange, Il
Contact: Kurt Van Dahm
237 South Lincoln St. (630) 968-3189
Westmont, IL 60559-1917 mailto:kurt...@voyager.net

Edina Model Yacht Club Minnesota
httl://www.EMYC.org
Contact: Edina Model Yacht Club
Centennial Lakes Centrum
7499 Francis Ave., South
Edina MN

Trinity River Yacht Club Missouri (?)
Contact: Sean Duke mailto:ps...@dallasne.quik.com

Gateway Model Ship Crafters Missouri
Meetings: At the Rock Road Library one Monday evening each month,
September through May.
Contact: Bob Bakula
P.O. Box 3232
Baldwin, MO 63022 (324) 394-3530

Kansas City Square Riggers Missouri
Contact: Paul Gagne
13604 Bennington St.
Grandview, MO 64030-3212 (816) 765-3977

Tulsa Ship Modeler's Society Oklahoma
Contact: Dan Allis
1631 East 31st St.
Tulsa, OK 74105-2100 (918) 747-6286

Houston Model Yacht Club Texas
Meetings: weekly; they have scale R/C regattas and race 12M and
36/600 yachts.
Contact: Commodore Ted Cooper
1003 Country Club Dr.
Houston, TX 77469 (713) 342-1658

Rocky Mountain Shipwrights Colorado
Meetings: 3rd Saturday of each month (9:30-noon) at Rocklers
Woodworking & Hardware, 2553 South Colorado Blvd.
Denver, CO
Contact: Bruce Bollenbach
8046 Lee Ct.
Arvada, CO 80005 (303) 424-8578
-or- Dr. Bob Roberts (719) 481-2449
-or- Jon R. Sorensen (303) 880-8128
mailto:bosun...@netscape.net

The Mesa Model Yacht Club Arizona
Contact: mailto:mm...@juno.com
Mesa, Arizona

The West Valley R/C Mariners Arizona
Litchfield Park, Arizona

Maritime Modelers California
Contact: Maritime Modelers
2554 Lincoln Blvd., Suite 215
Marina Del Ray, CA 90291

Ship Modelers' Association California
Meetings: 3rd Wednesday of each month, 7 pm, Backs Community Blg.,
201 N. Bradford, Placentia, CA
Contact: Bill Russell
19705 S. Moorshire Dr.
Cerritos, CA 90703

Maritime Modelers California
Contact: 13596 Marsh Ave.
Chino, CA 91710

San Diego Ship Modelers' Guild California
Meetings: 3rd Thursday, 3:00 p.m., Bark STAR OF INDIA
Contact: SDSMG, c/o San Diego Maritime Museum
1306 North Harbor Drive
San Diego, CA 92101

Ventura County Maritime Museum Model Guild California
Meetings: 3rd Tuesday of the month at 7:00 pm
Contact: Mark Bacin, Executive Director
-or- Dave Sherwood, President
2731 South Victoria Ave.
Oxnard, CA 93035 (805) 984-6260

South Bay Model Shipwrights California
Meetings: 3rd Friday of Each Month, at the Stamford Linear
Accelerator
Contact: Jean Eckert
1623 Ben Roe Dr.
Los Altos, CA 94024 (650) 964-0561
http://wes-luann.com/south_bay_model_shipwrights/

Redwood Empire Model Shipwrights California
Meetings: 1st Sunday of Each Month, Moose Lodge, 2350 Santa Rosa
Avenue, Santa Rosa
Contact: Adam Mello mailto:Ada...@calicom.net
1606 Harley Street
Calistoga, CA 94515-1326 (707) 942-0846

"Tom Bottomley's Group" California
Meetings: 2nd Friday of each month, 3748 Stoneglen N., Richmond
Contact: 510-243-0346

Diablo Model Boat Club California
Contact: Bill Vanderslick
Diablo Model Boat Club
411 Melinda Court
Pittsburg, CA 94585-3424 (510) 458-4745

Sacramento Model Shipwrights California
Contact: 8933 Park Meadow Dr.
Elk Grove, CA 95624

Portland Model Power Boat Association Oregon
Contacts: Tom Guglielmo (503) 531-9201
- or - Robert Beale (503) 286-6587
- or - Portland Model Power Boat Association
16380 N.W. Paisley Dr.
Beaverton, Oregon. 97006

Nautical Society of Oregon Oregon
Meets: every third Thursday at 7:00 PM, Portland Maritime Center
& Museum, in downtown Portland on Naito Parkway,(formerly
Front Ave) between Ash & Oak streets. Annual dues: $5.00.
Models of all periods.
Contact: Eric Adams mailto:r.eric...@att.net

South Shores Ship Modellers Guild Nova Scotia, Canada
Contact: Don Hardy
P.O. Box 1635
Lunenburg
Nova Scotia, Canada BOJ 2C0
-or- Ralph Getson
P.O. Box 1363
Lunenburg
Nova Scotia, Canada BOJ 2C0

Capital Marine Modellers' Guild Ontario, Canada
Contact: Capital Marine Modellers' Guild
192 Mafeking Ave.
Ottawa
Ontario, Canada K1K 2V5

Metro Marine Modelers Ontario, Canada
Contact: Dan Sinstead
General Delivery
18 Reid St.
Bobcaygeo
Ontario, Canada K0M 1A0

Provincial Marine 1812 Ontario, Canada
Meetings: 3rd Thursday of each month (except Jun/Jul/Aug) at:
HMCS York, 695 Lakeshore Blvd., West Toronto, Ont., Canada
Contact: Al Griffiths
57 Thicket Rd.
Etobicoke
Ontario, Canada M9C 2C4

Winnipeg Model Boat Club Manitoba, Canada
Contact: Bob Russell (204) 775-9887

Saskatoon Model Boat Club Saskatoon, Saskatchewan, Canada
Contact: Peter Lambe mailto:la...@sk.sympatico.ca

Alberta Ship Model Association Alberta, Canada
Meetings: 2nd Tuesday of each month, 7 pm, NMSC NUNSUCH,
Edmonton, Alberta, Canada
Contact: Alan Vanterpool mailto:avt...@oanet.com
13619 100th Avenue
Edmonton, AB, T5N 0J1, Canada

The Kelowna Model Boat Club British Columbia, Canada
Contact: John H. Harland 250-764-7364
448 Avery Rd. mailto:jhar...@smartt.com
Kelowna BC V1W 4H8 Canada

Victoria Model Shipbuilding Society British Columbia, Canada
Meetings: Second Thursday of each month; Royal Oak Scout Hall.
Contact: Mailto:vm...@home.com
Mail: Box 45083
Mayfair Postal Outlet
Victoria, BC, Canada V8Z 7G9

North Western Model Shipwright's Association England
Meetings: Saturdays at 11:00 am at Edge Hill Cottage, Chorley
Contact: H. R. Snape, Chairman
10 Wendover Rd.
Carleton
Poulton-le-Fylde, England FY6 7PT

NAUTICAL SOCIETIES
==================

Nautical Research Guild (U. S.) $30.00 membership
Publishes the quarterly journal Nautical Research Journal
Contact: Nautical Research Guild, NRJ-B
Kerwood Road
Silver Spring, MD 20904 (617) 389-2505

Scale Ship Modeler's Association Of North America
Clubs interested in becoming members should contact:
Matt O'Neill, SSMA Club Director
1880 Emmanual Church Rd.
Huntingtown, MD 20639

International R/C Warship Combat Club
Contact: Treasurer:
Ronny Hunt
2611 Stratford Drive
Greensboro, NC 27408

Ships-In-Bottles Association Of America California
Contact: Don Hubbard mailto:hubba...@aol.com
P. O. Box 180550
Coronado, CA 92178-0550

The SubCommittee
Deals with submarines of all nations and all eras, including
Science Fiction.
Contact: Jim Butt
SubCommittee Membership Chairman
P.O. Box 213
Shrewsbury, PA 17361-0213
http://www.subcommittee.com

Society for Nautical Research
Publishes the quarterly journal The Mariner's Mirror
Contact: Hon. Secretary Derek G. Law, Librarian
King's College London, University of London
Strand
London WC2 2LS
England

The Scale Sailing Association England
Contact: The Scale Sailing Association
14 Palace Road
Crouch End
London N8 8QJ
England

Society for Nautical Research England
(Publishes "Mariner's Mirror"; membership US $50)
Contact: Membership Secretary is:
M P J Garvey FCA
Stowell House
New Pond Hill
Cross in Hand
Heathfield
East Sussex TN21 0LX
England

Nautical Archaeology Society
Publishes the quarterly journal International journal of Nautical
Archaeology and Underwater Exploration in association with
Academic press.
Contact: Institute of Archaeology
Gordon Square
London WC1H OPY
England

Arbeitskreis historischer Schiffbau
German. Publishes the quarterly journal Das Logbuch.

Foreningen Allmogebatar
Swedish. Publishes the quarterly journal Trabiten.

Klubb Maritim
Swedish. Publishes the journal Batologen six times per year.

Kontaktudvalget for dansk maritim historie- og samfundsforskning
Danish. Publishes the annual yearbook Martim Kontakt.

Marinehistorisk Selskab
Danish. Publishes the quarterly journal Marinehistorisk Tidskrift.
Contact: Marinehistorisk Selskab, Overgaden oven Vandet 58,
DK-1415 K&oslas; benhaven K, Denmark

Marinarkeologiska Samfundet
Swedish. Publishes the quarterly journal Marinarkeologisk Tidskift.

Sjo Samfundet
Swedish. Publishes the annual yearbook Forum Navale.

John O. Kopf

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Sep 22, 2001, 7:11:58 AM9/22/01

Archive-name: ship-models-faq/part17
Rec-models-scale-archive-name: Ship_Modeling_FAQ/part17

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Last-modified: 08 August 2001

This is the Frequently Asked Questions FAQ (part 17) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###################################################

76. What is the best way to do carvings for ship models? I am
interested in hearing from anyone who has experience in carving
ship model ornamentation in Boxwood. The scale of my Sovereign
of The Seas is 1:78 and I possess the following carving tools. A
micro carving set from Lee Valley Tools with five different hand
tools. A slim DC high torque hand piece rotary tool that accepts
dental burrs, and a set of (5) dental burrs with 0.5 mm tips with
various configurations.
Could anyone offer any more information on tools, methods of
carving or any other tips to help me in my carving adventures
with the Sovereign? (Bill Short )
A. The first concern is the type of wood you’re planning to use - as
a general rule-of-thumb, the smaller the work, the harder,
denser, and finer-grained the wood you should use. Basswood,
walnut or mahogany may be fine for a large carving, but are
inadequate if you have to carve a head 1/4” high (or less).
Boxwood is the traditional wood used for ship model carvings.
Secondly, much will depend upon the type of carving - bas-relief
"plaque" (such as trailboards)? In-the-round (such as
figurehead)? Applique (scrolls and stars to fasten on surface)?
If the piece is complicated, consider gluing together several
blocks to insure that the grain runs along slim pieces (you don’t
want a cross-grained sword!). A figurehead may benefit from being
made from three pieces, the center one being the thickness of the
stem that the figure will eventually fit over.
The first thing to do is to "draw" the objective onto the wood.
The easiest way, given an existing drawing, is to glue a full-
size copy of the drawing onto the wood (DON’T use water-based
glues, such as Elmer’s - It will cause the paper to stretch!) I
rubber cement, but I find that as the pieces of paper get smaller
and smaller it tends to lose it’s grip. If the carving is in-the-
round, you may want to provide both a front and side view on the
stock.
Next, saw to profile. If you have front and side views, saw the
profile of one, then re-attach the piece with the other view
(glue it to areas that will be sawn off) and saw again. Also
drill and profile any pierced holes at this time. Finally restore
any lines that may have been removed during the sawing. Make sure
the blank fits where the final carving will go - it’s annoying to
have to redo a carving because the first attempt was too big to
fit in the space required!
If the carving has to be fitted to another surface (e.g., to a
curved section of planking or over a molding) do the fitting now,
rather than waiting until the carving is complete - and delicate!
(I find that putting a scrap of carbon-paper onto the target area
with the carbon out and then applying the blank will transfer
smudges to the “high” spots on the blank - pare off the smudges
and repeat until the whole back of the carving is uniformly
smudged.) If you took my advice and laminated the figurehead it
will now straddle the knee with very little work.
I then knock off any corners and edges that require a lot of
wood to be removed - just don’t try to split off the waste -
carve it away.
If the carving is thin and flat, I like to glue the profiled
blank to a scrap of 1/4" plastic sheet (Acrylic) for support. I
use acetate glue, since it won’t affect the wood or plastic, and
can later be dissolved with a few drops of acetone. If I need
identical pieces (such as gunport wreaths), I’ll glue on an
entire row of blanks so they can be worked together; if I need
some to be mirror images of others (say, for carvings to be
applied to both sides of the hull) I’ll also glue these next to
one another so they can also be worked together.
I next pick areas that will be excavated most deeply, and
"waste" the wood away using a Dremel tool and bur. I don’t try to
finish the surface, just remove wood, and preserve the "walls"
bounding them. If “ganging” a series, I do the same work on each,
rather than completing one before starting on the next - that way
they stay uniform even if you skill improves during the process.
Repeat for successively shallower cavities. By working from the
bottom up, you’ll leave the pattern for the last pieces until you
need them. This stage ends up with a surface with a bunch of
"mesa" standing out.
Round off the edges. Use a coin as an example of how much
material needs to be removed to give shape to thin work.
All of the prior could be done with a Dremel and Xacto knife.
Finally, clean up the surface with a cutting tool (carving tools
if you have them, but an Xacto knife ore even scraps of broken
razor blades will work - the object is to remove the fuzz on the
surface and leave it polished - DON’T try to sand it.
Finally, if you’d glued the work to plastic, paint with acetone,
pop off the carving, and put a small (1/32") chamfer on the back
sides so that it will appear to float on the mounting surface.
(John O. Kopf)
***Coincidentally, my current project is a scratch built plank-
on-frame model of the Colonial schooner HALIFAX in 5/16"=1'
scale, with a completely fitted out interior (platforms, cabins,
magazine, galley, etc) and boxwood carvings (stern arch board,
quarter badges, figurehead, etc.). The stern area including the
arch board carving, stern windows & pilasters and quarter badges
have been completed and I'm getting ready to begin the head
works.
All my carvings are being done by hand with a complete
assortment of Dockyard Models miniature carving tools (The Lee
Valley tools you have are made by Dockyard, or licensed out by
them), as well as a few tools I made myself from music wire and
hacksaw blade bits.
The basic technique I am using is as follows: First, draw a
pattern of the carving on tracing paper in ink, or dark, hard
pencil (something that won't smudge or rub off). Next prepare the
carving blank. Depending upon the size and finished shape of the
carving, this could be a single large piece, or as in the case of
the stern arch board carving, several pieces of overly thick
boxwood glued together so that the grain direction follows the
arch, and then shaped to fit over the convex "round-aft" of the
stern.
When the blank is ready, the tracing paper pattern is glued on
with contact cement. When dry, the outline, or profile of the
piece is cut out with a hand coping or jeweler's saw. The sawn
out blank is then spot glued to a "work block" which can be
easily gripped, chocked, blocked, or clamped in any attitude.
The design is then relief carved into the blank, following the
pattern. In the case of the quarter badges, I made a single thick
cut-out and then sliced it into two mirror image pieces which
were glued side by side to a work block and carved
simultaneously. The finished carvings were then treated with
Watco oil. However, I plan to paint the figurehead, which will be
decided to make the figurehead quite different from the seahorse
suggested by Harold Hahn, or the bust of King Neptune suggested
by another magazine article some years back. Rather, I have
decided to go with a full figure of Sir Edward Halifax, a
president of the British Board of Trade, holding the Halifax City
Charter, Kings Grant, or whatever (artistic license here) and the
person for whom the city (and no doubt the schooner) was named.
(Jim Roberts)
***Miniature woodcarving isn't that complicated. It is one of
these tasks you just have to start with. Learning by doing is the
key.
Just a few thoughts :
I started with Fr. Romeros Book on the Fubbs aside. This has
been extremely helpful. My first attempts have been lion heads as
base relief carvings (shown in the book) and men’s faces as full
figure carvings. These were needed for the knightheads and for
the top of the headrails of my Dutch two-decker. Scale is 1/75,
so the faces for the knightheads are real small or even tiny, the
ones for the headrails being somewhat bigger. Father Romero
guided me through these attempts.
If you don't have this book I would recommend you get it, even
if you never plan to build the Fubbs. It is fulfilled with hints
and ideas, especially on miniature carving.
Don't be discouraged when you have to throw away a figure when
you just finished 3 quarters. That’s what happened to me. Due to
a major mistake or when controlling the figure on the ship and
you see it is slightly too small or too big. Every piece you
carve will take you one step ahead with your carving experience.
I use only a power tool for micro burrs. I'm not very confident
in using chisels for model carving, even though the old artists
haven't had any powered tools. But micro burrs are faster, safer,
and you get them in many different shapes.
Busch is one of the 2 German brands. If you can get them on your
side of the pond, they are the tools to go with. You need burrs
down to 0,2 mm for finest details. A handheld tool that accepts
2,43 mm shaft tools is essential. There are quite a few on the
market, from low budget at around $15 to high end products at
$700. I have 3 of the low budget ones and plan to purchase one of
the high end tools. Having several tools is very convenient
because you will find that you have to change the burr shapes
very often. With three tools on the bench it is nice to grab the
one which currently holds the right burr. The reason for a high
end Swiss-made motor tool is just the quality. The cheap ones
work, of course, but due to plastic housings, the lack of high
end ball bearings and stuff like that make them very vibrational.
Carving is fun, and you will find that a session easily extends 1
hour or more. And with the cheap ones after some 20 minutes your
hand and later your whole arm starts vibrating. This is really
unpleasant, somewhat like after an electric shock.
Boxwood is really nice to carve, but quite expensive and hard to
come by. You should have a look on Swiss pear. My experience is
it is as hard as boxwood, hold sharp edges and tiniest details as
good as boxwood. And not so expensive. (Thomas Neuneck)
***Hi Bill, first some random comments, You did not specify the
size of your carving? This has a lot to do with the type of tools
you will/should use. The Carving tools that I think you have are
great and very sharp, that is if they are the detail carving set
Lee valley offers, However in my not so humble Wood carving
opinion it would be of great benefit to you if you go to
http://www.carvingpatterns.com (Go to the Table of Contents;
after stopping at "Nautical" select "Primer to carving") Since
you did not state the size of your carving I do not know if
traditional wood carving tools are in order for the details of
your carving, or if power carving is in order I suspect both
will, My only experience with power carving is with Ivory.
However, boxwood is very close. The reason that I keep on the
size of the carving is that it is VERY important as to the tools
that you will use, However I believe that you will need to use
both, since the overall shape will be with traditional wood
carving tools. Now I believe that I am about to commit Model Ship
Construction HERESY but do not use Xacto better still do not even
think Xacto. If your government did not impose such harsh duties
from purchases from the US you could buy a VERRRY good bench
detail knife (I will LQQK for the addie or is it addy) what ever
..AS to power tool bits I will search for some CANADIAN sites for
you to contact.
THERE ARE MANY in Canada BILL JUDD is one .Now after going to
the www and & education as to the various wood carving cut's and
some other basic's . Let me know and we can continue to the
Important stuff ( making a HARD clay model first, keeping your
tools RAZOR sharp and safety Have a good day (ED K)

77. My model calls for clue blocks and sheet blocks, but they’re not

included - how do I make them? (ne...@together.net)
A. I make clue blocks and sheet blocks in the scales about which
you inquired. I also make all of my ordinary blocks. The method
I use for the special blocks is a modification of the method for
standard blocks. I described that method in an article in "Model
Shipwright",Vol.89, September, 1994. I will describe the method
for making standard blocks first.
I start with a strip of boxwood whose thickness is equal to the
width of the block and whose width is equal to the breadth of the
block. I layout the length and mark it with a scribed line on all
four faces of the strip. I then mark the location of the two
holes on the edge of the strip. I drill the two holes and then
chisel the groove to approximate the shape of the sheave with a
miniature chisel held in a pin vise. The chisels are made by
stoning flats on the butt end of small drills. The smallest
drills I have are No. 92 (.0079”) I seem to generate an ample
supply of broken, dull or bent drills in my modeling. I use an
8/0 fret saw to make light cuts on each of the four faces of the
strip at the scribed line identifying the end of the block. I
then notch the end of the strip and the location of the opposite
end for the grooves for the strop. For this, I use a barrette
file whose end has been ground to form a triangular chisel.
I round off the exposed end of the block with small file and cu
a notch in the strip so I can partially round off the other end
of the block. I cut off the incomplete block using an 8/0 fret
saw and finish the end with a file. To help hold the block after
it is cut off, I pass a piece of thin copper wire through one of
the holes. In fact, I put the copper wire in before I cut the
block off. That helps prevent loss.
I strongly recommend that you have a drawing of these special
blocks available before you try to understand the following.
I haven’t been able to find any good definition of the
dimensions of a sheet or shoulder block. I make mine from a
strip that is slightly wider than the strip for a normal block.
The shoulder of the block (the projection on the lower end of the
block) will be on the end attached to the wood strip.
I also lay it out to be slightly longer with the hole at the
shoulder end a little farther from the end of the block than it
would be on a normal block. I do this because I believe the
sheave should have the same dimensions as the sheave for an
ordinary block.
After I have chiseled the groove and rounded the outer end, I
make a cut at the upper end of the shoulder. I use a No. 11
scalpel blade for all the cutting operations on these small
blocks. This is the same shape as the No. 11 Xacto blade, but
smaller and sharper. I then shape the curve of face with the
shoulder and the shoulder itself and finish by starting to round
off the other side of that end of the block.
To make a clue block, I start with a strip of stock whose
dimensions are defined by the top, larger part of the block. The
top of the block will be the exposed end of the strip. I drill
the two holes and chisel the grooves to represent the sheave. I
shape the upper end of the block to its almost spherical
appearance. Then I cut a notch and file down the lower portion
of the block to its proper thickness. I shape the lower section
of the block, cut the grooves for the strop at the lower end, and
partially shape the end before cutting off and finishing that
end.
I clamp the lower portion of the block and drill a shallow hole
in the center of the top. Then I hold the block in my fingers
and using a flexible shaft (or Dremel) drill the two holes up
into the overhanging top and aimed at the center hole in the top.
At first I drill with a small drill and when the holes intersect
fairly well, I finish with the proper size drill or ream the hole
to size.
For Long Tackle Blocks, layout the dimensions of the block on
one edge of the strip including the four holes. Make the layout
with the narrow end of the block at the exposed end of the strip.
Drill the four holes. Chisel the grooves for the wider end of
the block. With a knife and files reduce the narrow end to the
proper width. Cut the grooves for the strop. Round off the
narrow exposed end. Saw off the block and finish its wider end.
(Kelley Hannan)

78. Can anyone explain, or point me to an explanation, of how to
read a table of offsets? I am looking at the Table of Offsets
for the Clipper Ship "Sea Witch" in Davis' "Ship Models - How
to Build Them". Thanks. (John)
A. You should see the table divided by station lines, sections
from bow to stern. Then for each waterline you will see a
half-breadth dimension at each of the stations. This gives
you the plot points for drawing all the baterlines. Then same
thing for the buttock lines, but these will be given in heights
above the waterline.
The table should also give the heights of the decks sheer line
and the decks heights which will be different from the waterlines
as it is a curved line usually.
All the points will be plotted on the waterlines, buttock lines,
and on a body plan at each station. Once the points are plotted
the waterlines, buttock lines, and station line points should be
fair. However, because of measuring errors they will probably not
be fair. Consequently after you have all the lines drawn you need
to "fair" all the lines; that is, check all the points and
correct any line not correct.
The table of offsets may also have dimensions for "diagonals"
which are planes cut diagonally thru the hull.
If you don't know how to read a table of offsets, chances are
you don't know how to draw and fair lines either. It takes a
little knowledge and experience. You probably will need to read
a book on the subject, or in a basic book of naval architecture
or boatbuilding. (Ben Langford}

***The table of offsets is used to 'loft' - draw the plans
fullsize on the loft floor. It's a complicated process, and
you'd need a book on "lofting", which you can find at marine
bookstores or at www.woodenboat.com . But realistically, since
the book also includes the plans for the Sea Witch, you don't
really need the table of offsets. Work from the plans.
If you look at the plans, you'll see that the profile (side)
view and section (fore/aft) views have lines marked with numbers
(aft of midpoint) and letters (forward of midpoint). These mark
the moulds (the slices through the ship that define its shape)
and correspond to the numbers/letters in the leftmost column in
the table of offsets. The figures in the grid are measurements
that correspond to points on the lines, which are then joined to
make the smooth curves that make up the plan. The figures in
the grid are in the form "3-8-4" which if you look in the lower
left corner of the table of offsets, you can see means "Ft. Ins.
8ths", so 3-8-4 means "3 feet + 8 inches + 4/8 inches".
(David Hill)

***Lofting a hull from a table of offsets, if you have the
gumption to do it, is a wonderfully rewarding exercise that will
immeasurably increase your knowledge of and appreciation for hull
design.
You can do it to some comfortable scale that fits your available
drawing gear. You don't even need to do the whole thing, a few
waterlines, a few stations, buttocks, and diagonals and you will
soon "understand" the process. Don't have ships curves? Don't
need 'em, use those little sticks we call modelling supplies as
battens. You can even free hand the curves if all you want to do
is learn the process.
If you complete the drawing, you can always overlay and trace a
cleaned up neat version. These make wonderful wall hangings, and
you can puff out your chest and say "I did it myself"
For the mathematically inclined, the table of offsets is nothing
more than the cartesian coordinates that define an ordered set of
points on the ships hull. The waterlines, buttocks and stations
are an ordered set of fair curves that flow through the points.
(Robert M. Crane)

79. "How do you get it into the bottle"?

A. I have built two ships in bottles. What you do is build the ship
on the bench with hinged masts and pivoting yard arms. You lay
the masts backward (I hinged the masts by folding a bit of silk
glued to the deck and the mast base), then twist the yards as
parallel to the masts as possible. All the forestays run thru
loops on the bow sprit.
I made the "water" base from rubber mold stuff, sat the hull
into it while it was still wet, peeled it from the hull after
drying, then air brushed water effects on the rubber, rolled the
whole thing up and slipped it thru the neck. Since the bottle is
round, I had used a piece of styrene rolled to the shape of the
bottle, and held round with plaster of paris cast over it, to act
as the bottom of the mold for the water base, which I poured the
liquid rubber into, guaranteeing a proper fit to the inside of
the bottle.
Taking rubber cement I applied with a brush taped to a 1/4"
dowel, I glued the water base piece inside the bottle. This was
the hardest part. Since the cement was for all intent "contact
cement", I had to hit the exact spot the first try. Since I only
have one arm, I had to get some help. A friend held the base
upside down, taped to a dowel rod, as I brushed on the glue to
both the bottle and the base, then we rotated the bottle till it
lined up to the base, then jammed it together. We stopped for a
beer after that part!
I inserted the completed ship thru the neck after painting
rubber cement to the keel, allowing all the forestays to hang
outside the bottle neck. I set the ship into it's depression in
the water base and allowed it to dry while returning for another
beer!
Next day, I set up the masts. First I applied yellow elmers glue
to the inside if the mast hinges. This was difficult because of
the sails being in the way, but by lifting them up out of the way
with a piece of coat hanger, I got all three masts glued, them
began to draw on the forestays, which raised the masts up. The
mizzen and main stays were already tied to the fore and main
masts so they rose up right along with the foremast.
I raised the masts to the full posture then taped off the
forestays to the bottle neck till the glue dried. I had also
glued the forestays to the loops on the bowsprit. All this gluing
is done one dab at a time by putting a drop of Elmers on the end
of a coat hanger wire. After drying for a day, I went back in
with a razorblade (out of a disposable razor) taped to a dowel
rod, and cut the forestay draw strings off as near the bow sprit
as I could. Next I prodded the yard arms to a level position. I
had tied the topsail and topgallant yards to the main yards with
a line connected to the tips of each so that as the main was
leveled, the rest followed. I could not glue these since the fore
mast masked the main and the mizzen from being reached by a glue
dabber. In spite of this, they stayed level anyhow (I used
straight pins for pivots connecting the yards to the masts).
I did two of these and sold both. I saw one last year and after
10 years it still looks good (I was afraid of the mold rubber
being able to retain paint).
The bottles were antique whisky bottles about 18" tall, 6" neck
with a generous 1 1/4" neck opening.
The ship hull was a bit more than 4" long with a 1 1/2"
bowsprit. The masts are about 3" tall from the deck. The hull was
made from a Revell "Kearsarge" quarter boat. The whole works
barely fitted thru the neck.
That is how you put a ship in a bottle. (Capt Harry)
***I built at least three different ships in a bottle and I
always made them first making the ocean (resin or any material
that dry not so fast and I can paint), I put the resin and put
the hull painted in the correct place, just before the resin
dries (hard enough to paint), I paint it and even make the waves
and finish the sea painting. After that I put the masts and sails
down to the back part of the vessel, I put all rig of each mast
passing trough some hooks in the hull and finally in a hook in
the part when the jig sail is tied (in the front of the boat),
after pass all rigs I put the glue (cyanoacrylate - CA) in the
place of the masts and in the bottom of the masts, I pull all
rigs at the same time so the masts and sails go to the right
place, pulling the rigs I put some CA glue in the hook, when the
glue dries I make a knot in this hook and put another drop of CA
glue over the thread. When the glue is dry I can cut the rigs
very tight not leaving any portion of the thread after the hook
and the knot.
The entire process is made via bottle neck, of course you use
some tools to pick the parts and put in place, after finishing
the boat I put a cork in the bottle neck and it is all. There are
some people that cut the glass but I think that is not a real
ship in a bottle, and some people put a rope with a knot to hide
the cut mark. I know some people that makes the ship in a lamp,
the process is the same of the bottle, of course the size of the
boat will be smaller in a lamp than in a bottle. Unfortunately I
don’t have any of my ships in a bottle because I made them as a
special gift for some friends.
Build ships in a bottle requires I think more patience than
making a kit or any other thing because the size of the pieces
and is more difficult to build because the bottle neck.
(Luís Paulo Silva Pimentel)

80. How does "Copyright" apply to my work? To old pictures and
drawings?

A. First, the several members who wrote that a copyright is
conferred by the act of creation are correct. You do not have
to register with the Library of Congress or mail it to yourself
or anything else. I was operating on the information from law
school, a long time ago. I guess this is why lawyers do not
stray out of their area of expertise.
For a more complete response, here is the reply from my sister,
the intellectual property attorney:
***************************
I am an intellectual property attorney and have been asked by my
brother Dan Pariser to address some of the questions raised in
your posts. I should note that I am in-house counsel at a record
company, so I am not available to take on private clients, but I
can give you some general information about copyrights. For
starters, it's important to remember that the copyright law in
this country is a hodgepodge of laws and international treaties,
all of which change from time to time. It is very complicated,
and all I can really do is give you a general summary of the law
as it exists today.
A copyright confers various rights, but the most important is
the right to prevent others from making a duplicate of your work
(or a "derivative work", which is a variation based on the
original work). A copyright is created as soon as an author's
idea is "fixed in a tangible medium of expression" (that is, when
it is written down, put on a computer disc, or otherwise
transposed from the author's head to a medium that someone else
can review). For example, I now own a copyright in this email
message. If I wanted to, I could put a copyright notice on it
(Copyright 2001 Jennifer L. Pariser) and I could register it with
the Copyright Office. Both of these acts confer certain
benefits, but neither is required in order for me to obtain the
right to block other people from copying my work. (This did not
used to be the case.) A copyright protects the form of the
expression of the idea, not the idea itself. You can lift the
ideas discussed in this memo, but you can't copy the text. In
addition, you can make use of a copyrighted work for "fair use."
This encompasses parody, educational purposes, news reporting,
documentaries, research, etc.
Copyrights don't last forever, although the trend is to lengthen
them, not shorten them. The terms were most recently extended in
1998. The duration of copyright is probably the most changed
aspect of the law, so it's very hard to tell when something
becomes public domain ("PD") without some research. In general,
works copyrighted before 1923 have now lapsed to PD. So my
presumption for ship drawings dating from the 1800's or earlier
are not protected. A copyright can be transferred, say, from the
author or his heirs to a museum, but that does not change the
duration of the copyright. So it's fine for the Smithsonian to
state that it owns the copyright in a particular work (assuming
copyright was transferred to it by the author), but it doesn't
mean that the duration has been extended. However, if the museum
creates a new work, like a photograph of the item, the copyright
on the photograph will run from the date the photo is taken.
Similarly, a PD plan which is redrawn is copyright, as is the
introduction to a reprint of a PD book.
One thing to note in this context is that works created by the
US Government (including the US Navy) are never subject to
copyright. I couldn't quite follow the facts in the post
regarding Chapelle, but my guess is that he could make his
drawings either because the original drawings were created by the
Navy or because the copyright in them had lapsed. (He might also
have been given permission.) But, if a museum creates a
photograph of a government work, it can copyright the photo.
So, why can't you get some ancient drawing or book from a
museum? I have never had to confront this issue myself, but I
would imagine that most old works held by museums are PD at this
point. But that doesn't mean the museum is required to make the
actual document available to you. A museum, like any other
property owner, can set any rules it wants (subject to its
bi-laws and local regulations for public institutions) regarding
making an item in its collection available to someone who wants
to view it. Conversely, just because something is still
protected by copyright doesn't mean a museum can withhold it from
view if its rules require the work to be made available. My
suggestion when a museum gives you the run around is first to
find out what its lending rules are. Then worry about copyright
protection.
There are many summaries of the key aspects of the copyright law
on the internet. One good summary can be found at the following
website. Everything he says is correct, except, as noted above,
that the term of copyright was changed in 1998 after the article
was written, generally lengthening by 20 years any copyright
in force in 1998.
http://www.cs.ruu.nl/wais/html/na-dir/law/Copyright-FAQ/part2.html
Good luck.
****************************
I hope that this settles the matter, but will pass on any
specific questions to Jennifer if you send them to me off-list.
(Dan Pariser)

*NEW* ***I happened to look at the new section in the FAQ on the
subject of Copyright. This came out of the recent correspondence
on copyright and related issues. While this piece certainly is
the best of the often mis-informed contributions, it still
exhibits several inaccuracies. E.g. the principle of copyright
as specified by the Berne Convention of 1883 is implemented as
national legislations, i.e. its implementation varies between
nations. The piece in the FAQ relates to the US legislation but
fails to make that clear. Also, "works created by the US
Government ... are never subject to copyright", this is not true
as for instance US postage stamps are subject to copyright
protection.
The basic principles of copyright are simple, it is the US
legislation which has made a mess out of it. Most countries,
including Sweden, have a much more clear cut legislation on
this subject.
In my experience it is not surprising that lawyers make such
silly mistakes. (Lars Bruzelius)

81. What are all of the lines on my drawing of a ship?

A. This really can't be explained with out pictures; You're invited
to visit http://www.seaways.com/faq/smf-q81.html for a full
description.
***The "top view" of the lines is properly called the half-breadth plan. The "contours of the hull in layers" are correctly known as waterlines.
In the sheer plan, or side elevation, the waterlines appear as lines drawn parallel to the base line (usually the keel rabbet) at regular intervals (such as 1/4", 1/2", etc.) above it. For the lift method of construction, the model and plans should be in the same scale, as the thickness of the wood used for the "layers," or lifts should be equal to the interval between waterlines.
In the half-breadth plan, which represents a view of the hull if the sheer plan were rotated 90 degrees about the longitudinal (fore and aft) axis of the hull, the waterlines appear as a series of somewhat concentric curved lines. In this view, they resemble nothing so much as a topographical chart, showing elevation lines (which, in effect, is what they are). (Jim Roberts)

82. cutting wood planks?
I am a new member to this forum. So, please forgive me if the
question has been asked countless times. I have gone over the old
messages and have found answers to some of my questions. But, not
all of them.
I have purchased my own stock for a plank on frame model. I have
some cedar, mahogany, and some black cherry.
What I need to know is what should I do about cutting the planks?
Can I take them to someone to cut them for me? If so, what kind
of establishment will do that for me?
I have a band saw...only a 9" one and the blade wavers too much
to be a good choice.
I have already cut some strips on a table saw with a low kerf
blade and it works well. The resulting wood is fine but does have
some marks on it.
I am also have a bit of trouble laying out the backbone to my
"riptide" model. Anyone have a URL with some good tips on how to
do that? I already have accessed the Vintage Model Group.
Thanks in advance (David O'Flaherty)

A. Cut strips off the edge of your stock (plank) and finish so that
the THICKNESS corresponds to the WIDTH of the planking stock you
require.
Then resaw these strips and slice planks of the appropriate
thickness off the edge...allow for saw marks so that the planks
will FINISH to the correct thickness. This is where a modeling
saw, such as the Preac, really shines.
Most planks will be seen on only one side, so some roughness on
the back can be tolerated. (John O. Kopf)

***I mill all of my own planking and I start with regular boards.
I cut them down on a Microlux table saw, then run them through a
thickness sander until the thickness of the board is the width of
the plank. This is usually 1/4" or less. Then I rip planks off
of this billet with the Preac saw. Works great, consistent
results, and the Preac leaves no teeth marks on the wood.
(Bob Hunt)

***Is it the Preac? Or the blade you use that leaves no marks. Oh
Gheese, I may have started something here. But I really wonder if
it's the saw or the blade that counts, No simple answers allowed.
(Nebk}

***It is the blade, which is a slitting saw that is hollow
ground, that is, it is thicker at the outer diameter than at the
bore. Also a solid mounted spindle running in ball bearings helps
a great deal, no wobble. (Regards, Jerry G)
P.S. If you want a complicated answer, you have the wrong guy!

***"a solid mounted spindle running in ball bearings" Aye, and
there's the rub. The blade must run true to prevent saw marks,
and for that the shaft must run true ... which may require a top
quality saw. We know the Preac is engineered for this purpose,
but are less sure of the cheaper saws. (But who am I to say? I
use a 20 year old [has it been that long!?!] 8" makita
contractor's saw where I compensate for the wobble in the blade
with the inaccuracy in the fence. <grin> And then use a plane to
remove the saw marks.) (David Hill)

***An important factor for smooth cuts is exact alignment of the
saw arbor with the table slot.
I went through a labor of love to align my 10" table saw using a
dial indicator, and was able to get within .002". Just torqueing
the bolts on the trunion could change the reading by more than
.002". So it became a lengthy trial and error process. Perhaps
higher grade cabinet saws have a better trunion adjustment
mechanism. Anyway, with a high quality blade, I can make smooth
cuts with virtually no teeth marks. In the case of a Preac, it
comes with precise alignment out of the box. (Phil Krol)
***When I took my Preac out of the box, I was a little
disappointed to find that the blade as mounted at the factory was
running out .009" (nine thousandths of an inch). Not exactly
"precise alignment". I removed the spindle shaft from the
bearings and carefully set it up in my Sherline lathe to run dead
nuts (toolroom expression for true reading, meaning no deviation
of a dial indicator on the work when rotated) and then took a
very thin facing cut on the surface where the saw blade is
mounted. When carefully assembled, the saw blade is now running
"dead nuts". I wrote a letter to Charlie Files, the CEO of Preac,
and he saw to it that every saw spindle shipped after that date,
was faced at assembly to insure the accuracy they advertise. By
the way, Charlie and I both worked for Bulova Watch Company, but
at different times. Their toolroom is renowned for turning out
the best toolmakers in the world, every bit as good as Swiss or
German toolmakers, but trained in the good old USA!
(Regards, Jerry G)
***Yes, that is pretty much what I did. I used a 10" table saw
and am not too concerned with the finish of the planks. I will
sand them down to a nice smooth exterior finish that should be
fine.
I don't have any fancy equipment like a Preac saw so I was
looking for some tricks on how to do it without anything special.
I mean...they have been making models for hundreds of years!
I will let you know how it turns out! (David O'Flaherty)

Final notes: If you build a model for display or sale, always sign it
in a hidden or at least non-obvious location. Never sell yourself
short. Log your hours building. Never charge less than 3xCurrent
minimum wage per hour plus materials. If your work is quality, it will
sell at those prices, and usually at a premium. If your work doesn't
meet standards (retail, decorative or museum) you will never sell
regularly. Document sources and techniques on everything you build for
(possible) sale or "prestigious" display. Good Luck (RAlcorn824)

John O. Kopf

unread,

Sep 22, 2001, 7:12:01 AM9/22/01

Archive-name: ship-models-faq/part20
Rec-models-scale-archive-name: Ship_Modeling_FAQ/part20

Posting-Frequency: quarterly
Expires: Fri, December 28, 2001 00:00:00 GMT

Last-modified: 22 June 2001

This is the Frequently Asked Questions FAQ (part 20) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###############################################

(This question is continued from Part 19)

If you are reading this using a browser, the following sites contain most
of the information in this section, and are probably more up-to-date:
Tools: http://www.Naut-Res-Guild.org/sour-tol.html
Miscellaneous: http://www.Naut-Res-Guild.org/sour-mis.html

101-C. TOOLS
-----

(Be sure to check out the FAQ for the rec.crafts.jewelery newsgroup,
as well; it's too long to incorporate here.)

Ace R/C 800-322-7121
116 W. 19th Street
P.O. Box 472
Higginsville, MO 64037
(R/C equipment)

Anchor Tools (Bill Schroeter) 908-245-7888
P. O. Box 265
Chathan, N. J. 07928-0265
(Hand tools, jewelers' supplies, Foredom)
Catalog - $4.00 (Refundable; $10 - Europe, $15 - Japan)

Blazer Corporation 212-532-1166
114 E. 32nd St.
New York, NY 10016
(micro torches)

Brookstone 603-924-9541 (orders - 24 hr)
127 Vose Farm Road 603-924-9511 (Cus. ser. 9-5 EST)
Peterborough, NH 03458
(Unusual tools with a number of gadgets. Nice catalog.
Brookstone has a number of stores around the country. You can
sometimes find specific items for less elsewhere.)

Barnacle Wharf Trading Company 614-344-2772
Box 692
Newark, Ohio 43055 http://www.barnaclewharftradingco.com/
(Primarily a dealer in surplus goods; often has items of
interest to modelers. Catalog $2.00)

Calculated Industries, Inc. 800-854-8075
4840 Hytech Drive 702-885-4949 FAX
Carson City, NV 89706.
(A dimensional calculator for proportional scale modelers. The
ModelCalc has a proportional scaling key with 22 common model
scales (i.e., HO, N, G, 1:24, 1:400, +4 Custom Scales) built-in,
allowing users to simply enter the actual or prototype size (in
any dimensional format), and then find the scaled size with the
press of a button. List price of $59.95 and will be distributed
through leading modeling/hobby supply stores nationwide.)

CaRa Products 605-987-5924
P.O. Box 221
Canton, SD 57013
(R/C battery chargers)

Craft Supplies USA 800-551-8876
1287 E. 1120 S.
Provo, UT 84606
(Company is owned by Darrel Nish, world famous woodturner. They
feature lathes, such as the Carba-Tec, Comet mini lathe, and
full size lathes, all wood.
Their catalog is full of accessories for lathes, specialty tools
and centers for lathes. They have tons of great exotic wood,
including boxwood in rounds and squares. Catalog is free and if
you don't order anything its a pleasure to look thru. Everything
in color and well printed.)

Craftwoods 800-468-7070
2101 Greenspring Drive
Timonium, MD 21093
(Power tools, bits, knives, chisels, wood, paint, glues, vises,
wood burners and airbrushes)
Catalog - Free woodworking catalog

Dedeco International 914-887-4840
Rt. 97
Long Eddy, NY 12760-0244
(Dental abrasive tools -- free catalog)

Dremel 414-554-1390
P.O. Box 081126 1-(800) 473-3635
4916 21st Street http://www.dremel.com
Racine, WI 53408-1126 mailto:drem...@execpc.com
(Manufacturer of compact power hand tools, saws, sanders
-- free catalog)

Eastern Tool & Supply Co. 212-925-1006 (orders)
149 Grand Street 212-226-3749 (office)
New York, NY 10013 212-925-1010 (Fax)
(call for catalog)

Euro Tools 913-338-3131
11449 Randall Drive
Lenexa, KS 66205
(Swiss & German tools, new extra fine files -- free catalog)

Excel Hobby Blade Corp. (Mike Hammam, Pres.) 201-278-4000
481 Getty Avenue
Patterson, NJ 07503
(Scissors, vice, blades, gouges, saw blades, etc. -- free
catalog)

Falcon Tool Company, Inc. 1-800-362-9106
7500 Hub Parkway
Cleveland, Ohio 44125
(Supplies a variety of shapes and sizes of dental burs, both carbide
and vanadium steel on 3/32 inch shafts.)

Foredom Electric Co.
Bethel, CT 06801
(Flex shaft & handpieces)

Gesswein
P.O. Box 3998
255 Hancock Avenue
Bridgeport, CT 06605
(Jewelers hand tools, casting equipment)

H & R
18 Canal Street
P.O. Box 122
Bristol, PA 19007-0122
(Science, R/C batteries)

Industrial Abrasives Co. 800-428-2222
642 N. 8th Street
Box 14955
Reading, PA 19612
(Sanding tools)

Jarmac, Inc. 217-789-7290
P.O. Box 2785
Springfield, IL 62708
(small table saw, 4" disk sander)

Jim Davis
8038 Oacjard Ave., N.E.
Elk River, MN 55330
(Scale Nautical Tool Co. product line)

J.F. McCaughin Co. 818-573-5781
2628 River Avenue 800-573-5781
Rosemead, Ca 91770-3395
(These people have a good inventory of tools for jewelry
manufacturing and investment casting. A very nice catalog
for the asking.)

K. H. Lee Jewelry & Craft Tools (Kenneth H. Lee) 800-435-4966
9078 Artesia Blvd. 310-920-3834
Bellflower, CA 90706
(New & used tools and equipment, some of which are useful for
modelers)

Livesays Inc. 800-476-2715
456 W. Columbus Drive
Tampa, Florida 33602-1200
(Dental "burs"; call for catalog)

Klein Design Inc. 206-226-5937
17910 SE 110th Street 206-226-2756 (FAX)
Renton, WA 98059
(Small scale wood turning lathe, tools & videos -- catalog:
free)

Mactac Technical Products Division 800-323-3439
4560 Darrow Road 216-688-7949 FAX
Stow, OH 44224-1898
(double sided sticky tape - thin polyester film, coated on each
side with a high performance, acrylic based, pressure sensitive
tape.)

Mascot Precision Tools (Alan Kelso) 201-939-6700
750 Washington Ave.
Carlstadt, NJ 07072
(Small hand tools) Catalog $2.00

Micro-Mark 800-225-1066
340 Snyder Ave. 908-665-9383 (FAX)
Berkeley Heights, N. J. 07922-1595 http://www.micromark.com
(Specializes in tools for miniature & model builders; Cat.
excellent)
Catalog - $1.00 (Free with order)

Miracle Point 800-682-4256
P.O.Box 71
Crystal Lake, IL 60039
(Pliers)

NorthWest Short Line 206-932-1087
Box 423 206-935-7106 (FAX)
Seattle, WA 98111
(tools include "chopper", "True Sander", & "Dupli-cutter")
Details - free

PanVise Products (Patric O'Rourke) 702-353-2900
1485 Southern Way 702-353-2929 (FAX)
Sparks, NV 89431
(Vises)

Paul H Gesswein & Co., Inc. 203-366-5400
255 Hancock Ave.
P O Box 3998
Bridgeport, CT 06605-0936
(cutting & grinding bits)
Catalog $5.00

Paasche Airbrush Co. 708-867-9191
744 W. Lawrence Ave.
Harwood Heights, IL 60656-3497
(Air brushes & paint booths)

PanaVise
1485 Southern Way
Sparks, NV 89431
(vises)

Pfingst & Company (Karl Pfingst) 908-561-6400
105 Snyder Road
South Plainfield, NJ 07080
(Jewelers supplies)

Preac Tool Co., Inc. (Charlie Files) 516-333-1500
512 Main St.
Westbury, N. Y. 11590-Dept. MS
(**EXCELLENT** 4"x6" table saw, small clamps, new thickness
sander) Catalog - SASE

Proedge 201-764-1120
Maple Grange Road
P.O. Box 888
Vernon, NJ 07462

Progress Machine & Tool Corp. 800-227-9775
610 South Broadway Suite 510 213-489-7262
Los Angeles, CA 90014
(cutting & grinding bits)

Royal Products 909-867-9272
P.O. Box 453 909-867-5629 FAX
31354 Firwood Dr.
Running Springs, CA 92382
(Treenail maker tools, Thickness sander - free brochure)

RDA Productions (Vern Smith) 509-292-8157
P.O. Box 68
Elk, WA 99009-0068
(various parts to convert a Dremel tool into a lathe, saw, etc.
Vern make these on request; he is not available during
winter months.)

The Sanding Catalog
P.O. Box 3737
Hickory, NC 28603-3737
(Made to order abrasive sheets)

Sherline Products, Inc. (Craige V. Libuse) 800-541-0735
170 Navajo St. 619-744-3674 (outside US)
San Marcos, CA 92069 619-744-1574 (fax)
(Sherline lathes) http://www.sherline.com/sherline

Small Parts Inc. 800-220-4242
P.O. Box 4650 305-557-8222
13980 N.W. 58th Ct.
Miami Lakes, FL 33014-9727
(Small drills - down to .005 inch; "capillary" tubing (hypo
needle stock) in 18-24 in lengths; springs)

Small Parts has a lot of other interesting toys as well, including
very small wire drills ( < #80 ).
Syntax Mfg & Distributing 909-589-9811
249 S. Paseo Tesoro
Walnut, CA 91789
(Micro torches -- free brochure)

Taige Tools 602-895-6978
12419 E. Nightingale Lane 602-895-9648 FAX
Chandler, AZ 85249
USA
(Hobby lathe and tools)

Thayer Chandler 708-816-1611
28835 N. Herky Drive
Lake Bluff, IL 60044
(New Vega 2000 airbrush -- catalog available)

Thurston Manufacturing Co.
45 Borden Street
Providence, RI 02903
(Miniature saw blades)

The Tool Man (bill & Rose Marie Carr) 817-236-7609
7621 Lake Highland Drive mailto:too...@airmail.net
Fort Worth, TX 76179-2807 http://www.hobytools.com
(tools; catalog - same as Internet catalog - $2.00)

Tools for Model Makers
3 Arlington Street, Drawer S/S
Rochester, NY 14607
(miniature clamps)

Tooltron (Thomas Love) 210-249-8277
103 Parkway mailto:Tool...@Texas.net
Boerne, TX 78006
(hand tools - pliers, scissors, hemostats, etc.)

Vanda-La Industries (Larry Stanclift) 909-867-9272
P.O.Box 1946 909-867-5629
Running Springs, CA 92382-1945
(Makes a series of (Dremel) cutters for making trunnels.)

Wood Carvers' Supply, Inc. 800-284-6229
P. O. Box 7500 (813-698-0123 - Inquiries)
Englewood FL 34295
(Fine knives, chisels, Foredom tools, books, sanders)

Woodworkers Supply
1108 North Glenn Road
Casper, WY 82601
(Carvers tools)

Xuron Corporation (Mark Hamilton) 207-283-1401
60 Industrial Park Road 207-283-0594 FAX
Saco, ME 04072 mailto:Xuro...@aol.com
(Pliers, scissors, cutters, photo etch cutters -- free catalog)

Zona Tool Company 800-696-3480
P. O. Box 502 800-299-4208 (FAX)
Bethel, CT 06801
(distributor for Berna Assembler, call to locate nearest
retailer)

(This question is continued in Part 21)

John O. Kopf

unread,

Sep 22, 2001, 7:12:02 AM9/22/01

Archive-name: ship-models-faq/part19
Rec-models-scale-archive-name: Ship_Modeling_FAQ/part19

Posting-Frequency: quarterly
Expires: Fri, December 28, 2001 00:00:00 GMT

Last-modified: 27 June 2001

This is the Frequently Asked Questions FAQ (part 19) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###############################################

101. Where can I find... ?

101-A. RECOMMENDED BEGINNER KITS
=========================

Bluejacket: "We're Here"

Model Shipways: Phantom, Katy (schooner), Sultana
A. J. Fisher: Pilot Schooner, Lark

Model Expo: Gjoa, Swift, Scottish Maid, pinky

Midwest Models: ANY Midwest kit marked "beginner"

NOTE: This list is provided by the Nautical Research Guild.

This list is provided as a service to model builders, and the
listing of the businesses does not infer an endorsement of the
products or service by the Nautical Research Guild. Specific
references can be obtained by applying directly to the business.

If you are reading this using a browser, the following sites
contain most of the information in this section, and are
probably more up-to-date:

Kits: http://www.Naut-Res-Guild.org/sour-kit.html
Materials: http://www.Naut-Res-Guild.org/sour-mat.html
Miscellaneous: http://www.Naut-Res-Guild.org/sour-mis.html

Note: Catalog prices, where shown, are as listed; many companies will
send updates free once you've bought something, and may send
the first one free if you ask. Some companies will also include
a voucher in the purchased catalog that will apply the catalog
price to the first purchase.

101-B: KITS, FITTINGS, ETC.
--------------------

ABCD Industries 410-717-4111
1320 Light Street
Baltimore, MD 21230
(all sorts of rivets. You call & explain what you need. They
will ship to you.)

Across the Pond 800-469-3957
P.O.Box 153
Marblehead, MA 01945 http://people.ne.mediaone.net/acrossthepond
(Domestic and imported ship building kits.)

A. J. Fisher 248-541-0352
1002 Etowah Ave. <========== C L O S I N G ! !
Royal Oaks, Michigan 48067 As of June 30, 2001!
(Solid-hull kits, brass ship & yacht fittings, prints, books)
Catalog - $3.00

Air Land and Sea 703-684-5118
1215 King Street
Alexandria, VA 22314
(Out of production kits)

Airfix
a division of Humbrol Ltd.
(manufacturer of plastic ship model kits)

APC Hobbies (Charlie Pace) 804-973-2705
PO Box 122 804-973-8884 FAX
Link Evens Lane http://http://www.apchobbies.com
Earlysville VA 22936 mailto:A...@ESINET.NET
(General models, 3-4 week service, 25% discount, ~monthly
updates)

Arror Graphics 416-692-4921
R.R. #1
York, Ontario N0A 1R0
Canada
(Canadian flags, markings)

Amherst Miniatures (W. J. Marshall) 313-485-2855
1220 S. Congress
Ypsilanti, MI 48197
(scale model warships & more)
Catalog - $2.00

Atlas Model Railroad Co., Inc. 908-687-8857
378 Florence Ave.
Hillside, NJ 07205
(Free, Fantastic Layout Booklet. For free copies,
send #10 S.A.S.E. (52 cents). )
Catalog - Free(1994)

Authentic Models, Holland 31-(0) 346-264444
Keulschevaart 15a
NL-3621 MX Breukelen
The Netherlands
(Manufacturer of kits)

BaD Ship Models 607-638-9266
P.O. Box 214
Westford, NY 13488
(1:96 plank on frame kits; Brochure: $2.00)

Billing Boats A/S
Gejsing
6600 Vejen
Denmark
(makers of kits which allow one to make a model with marvelous
and true lines. Some of their fittings are not that good,
however. Their kits are carried by many US dealers and hobby
shops.
I know Billing as makers of kits which allow one to make a
model with marvelous and true lines. Some of their fittings
are below my standards, however.)

Bluejacket Shipcrafters 800-448-5567
P. O. Box 425-N 207-548-9970
Stockton Springs, Maine 04981-0425 207-548-9974 FAX
http://www.modelersboatyard.com/BlueJacket/blue1.htm
(solid hull & POF kits, brass & britannia fittings, plans,
wood, books, custom casting available)
Catalog - $2.00

Blue Water Navy 803-767-4209
P.O.Box 8421, Festival Center mailto:mbish...@aol.com
Charleston, SC 29418
(resin, white metal & etched brass kits - don't know scales;
latest is ~8.5 inch Russian Alfa Class Submarine: $35.00)

Bureau of Ship Models, Inc. (Colan Ratliff) 301-654-4405
782 University Drive
Waldorf, MD 20602-3497
(Small boat kit mfg., fittings)

Bureau of Small Warships
P.O. Box 288102
San Diego, CA 92128-0993
(They make all the US WW2 destroyer classes. These are 1/700
scale resin kits of outstanding quality. These kits are $26.00
each plus $2.50 shipping)

Classic Warships
Box 57591
Tucson, AZ 85732
(1:700 Warships USS California, West Virginia, Detroit, Alaska.
Italian Battleships Cavour, Littorio, Zara Cruiser. New, ship
model rulers. $3 catalog. [from Todd Hoogerland])

Cleanline Hulls 403-243-6924
1736 - 49 St. 403-246-0582 FAX
Calgary, Alberta Canada T2T 2T9
(Large ship kits for RC)

C H Enterprises 805-684-3673 (Eve. & weekends)
P. O. Box 31146
Santa Barbara, CA 93130-1146
(Kits, books, tools & supplies - "Tattered Ensign")
Catalog - $3.00 (refundable); SASE for current specials

Coast Guard Models 708-437-4687
110 Essex Road
Elk Grove Village, IL 60007
(Hulls & semi-kits)

Lou Coatney
626 Western Avenue
Macomb, IL 61455 http://members.tripod.com/~LCoat
(Cardstock ship models; some free online)

Cole's Power Models (Betty Cole)
839 E. Front St.
P. O. Box 788
Ventura, CA 93002
(Marine and other steam engines, castings, supplies)

Commander Models 1-888-IRONSHIP
551 Wegman Rd
Rochester, NY 14624
(Resin models, including BJ GAMBIER BAY, 1:350 USS SUMNER,
ATLANTA, 1:350 and 1:192 USS MAINE)

Copeland Models
16 Dover Rd.
Hampton, VA 23666-2333
(R/C submarine kits)

Corel S.L.R.
Via Edolo 6
20125 Milano, Italy
(Italian Kit Manufacturer)

Cottage Industry Models (William Blackmore) ???-769-2352
1632-B Ashley River Rd.
Charleston, S.C. 29407
(1:32 multimedia model of the Civil War submarine, the Hunley.
This is a very nice kit; resin kit with about 30 pieces and a
1 piece hull. They intend to make all the Ironclads that were
in Charleston, starting with the Confederates. Also has
David Bushnell's "Turtle")

Darnel Models +44 (0)923 673107
33 High Street
Watford
Herts
WD3 7AE
England
(Type VII German submarine)

Deans marine +44 (0)1733 244166
Conquest Drove
Farcet Fen
Peterborough, PE7 3DH
England
(Their adv. states that a catalogue is UKP 4.50 incl. p&p.)

Diamond Enterprises & Book Publishers
Division of Yesteryear Toys and Books, Inc.
Box 537
Bailey Settlement Rd
Alexandria, N.Y. 13607
(Steam engines)

Flightpath (David J. Parkins) 44-1348-831-534
Trefacwn Fach
Llanrhian, St. David's
Dyfed, SA62-6DP
Wales
Tel/Fax: 0348-831534
(Flower Class Corvette 1/72 scale detail set. Cost as of late
'92 was 39.90 GBP (Sterling) & 5.64 P&P overseas)
There are also a set of resin replacements available for the corvette
from another British firm....
Sirmar 44(1)384 263252
PO Box 127
Stourbridge, West Midlands
DY8 5XY

D&E Miniatures 804-468-4687
835 Holly Hedge Avenue
Virginia Beach, VA 23452
(1:96 resin subs, including SKIPJACK; Water-tight Cylinders)

Dragon Model & Pattern 206-465-2427
231 Hull Road
Grays River, WA 98621
(1:200 resin subs -- list $1.00)

The Dromedary (Lois Roth) 915-584-2445
Ship Modeler's Center
6324 Belton Drive
El Paso, Texas 79912
(Very complete supply of kits, fittings, plans, books, lumber,
etc.) Catalog - $6.00

Dumas (Rob Brandon) 520-623-3742
909 E. 17th Street 520-623-1329 FAX
Tucson, AZ 85719 mailto:du...@azstarnet.com
(Manufacturer of static and R/C wood & fiberglass kits)

Dynamic Models
Drawer C
Port Jefferson Station, NY 11776
(Manufacturer of kits & fittings)

Engineered Specialties
PO Box 156
Seeley Lake, MT 59868
(Submarines; 1/96 scale SSN-637, 1/72 Alfa, coming 1/48 German
Type XXI. Catalog $ 2)

Estes Industries 719-372-6565
1295 H Street 719-372-3419 FAX
Penrose, CO 81240
(known for Model Rockets; also produces the Sterling Model Kits.)

Four Star Collectibles 603-635-7639
(Marco's Miniatures)
P.O. Box 658
Dracut, MA 01826
(Huge selection of out-of-production kits, some ship models.
These guys have hundreds of kits from Aurora, Monogram, Revell,
Hawk, MPC, and others.)

Glencoe Models, Inc. 508-869-6877
P.O. Box 864
Northboro, MA 01532
(Plastic 20th century models)

GLEN-L Marine Designs 213-774-2585
9152 Rosecrans, Ca. 90706
(This company sells books, plans, videos, kits and just about
anything you want in the lines of boats. Catalog of boat
designs is ~$4.00.)

Great Planes Model Dist. Co. 217-398-3630
P.O. Box 9021
Champaign, IL 61826-9021
(R/C kit distributor)

GULFSTREAM kits are distributed by:
Marco Polo Imports
City of Industry, CA.
(Resin Kits, including 'USS Ward'. GULFSTREAM (Mike Ashey) can
be contacted directly at 2070 Wildridge Drive, Tallahassee, FL
32303.)

H&B Precision Card Models 703-281-0813
2026 Spring Branch Dr. 703-281-0813 (FAX)
Vienna, Virginia 22181-2973
(Carries Wilhelmshaven line of ships and aircraft, and some
HO/N scale buildings. -- catalog: $5.00 with $5.00 coupon)

Hamilton Hobby Specialists (Susan Bousfield) 905-549-1226
236 Kenilworth Ave., N.
Hamilton, Ontario L8H 4S5
Canada
(This store serves southern Ontario. They have been around for
40+ years and carry a good range of boat kits (wooden and
plastics), fittings (Billing and others), tools, and books. )

Harbor Models 714-435-0716
17457 Appalachian Street
Fountain Valley CA 92708
(The Cheddar Models line of preassembled steam engines, as well
as a large variety of hulls and full kits suitable for steam.)

Hartman Fiberglass R/C 217-795-2275
P.O. Box 86
Argenta, IL 62501
(Manufacturer of kits)

Heller SA 33 67 72 84
Chemin del la Porte BP5 (33) 33 36 57 07 FAX
61160 Trun, France
(Plastic kits)

Hobby House's Quarterdeck
5622 Hwy. 153
Chattanooga, TN 37343
(Distributor of US & foreign kits -- Catalog - $2.50)

Hobby Lobby
5614 Franklin Pike Circle
Brentwood, TN 37027
(Mail order hobby shop)

Hobby World of Montreal (Sam Benshir) 514-481-5434
514-481-5468 FAX
mailto:in...@hobbyworld-inc.com
http://www.hobbyworld-inc.com/
(Wooden ships, Dollhouses, Plastic models, Custom showcases,
Tools, Books, etc. In particular:
Tool section: http://www.hobbyworld-inc.com/maintool.html ;
Model Cases: http://www.hobbyworld-inc.com/showcase.html ;
Ship fittings: http://www.hobbyworld-inc.com/mainship.html .)

Howard Enterprises 310-547-3464
Frank's Mosquito Boat Hobbies (Frank DiMeglio)
866 W. 19th Street
San Pedro, CA 90731
(1:20 Higgens & Elco PT kits; boat upgrades & customizing)

Humbrol Ltd. 011-441-4820701-191
Marsfleet, Hull
North Humberside, HU9 5NE England
(Paints, includes Airfix as a division)

International Marine Exchange 215-357-2163
215 Philmont Avenue
Feasterville, PA 19047
(Kits)

Iron Shipwrights (Ted Paris) 888-IRONSHIP (476-6744)
mailto:mont...@pop.usit.net
(1:350 Kits of modern warships)

JAC Models 603-778-7280
2800A Lafayette Rd. #199
Porthsmouth, NH 03801
(Balsa wood models, Coast Guard boats and cutters, Victory ship
and tugboat -- Catalog: $1.00)

Jim Shirely Productions
PO Box 95118 mailto:JSHI...@aol.com
Lake Mary, FL 32795-1109
(Offers a variety of early 20th century, WWII and modern era 1:700
scale resin models)

Laughing Whale (Inc. Midwest Boats) == NOW PART OF BLUEJACKET!

Lindberg
328 N. Westwood Ave.
Toledo, OH 43607
(Plastic kit manufacturer -- 32 page catalog)

Lone Star Models (Mike & Laurie West) mailto:lsmo...@ix.netcom.com
P. O. Box 770954 http://www.lonestarmodels.com
13758 Drakewood
Sugarland TX 77478
(Civil War ironclads, 1/192 cast resin with brass and white
metal parts; catalog: $2.00.)

The Maryland Silver Company (Duane Borchers) 410-451-2135
P.O.Box 6220 mailto:mda...@annap.infi.net
Annapolis, MD 21401
(Plans, models of Civil War ironclads; Catalog is about $5
or $6.)

McKenzie Company 206-881-2352
P.O. Box 2766
Redmond, WA 98073-2766
(McKenzie Drift Boat model kit)

Manta Submarines
3300 Apex PL.
North Vancouver BC
Canada V7H2R5
(1:72 Scale SSN-637)

Maritime Models Greenwich + 081-858 5661
7 Nelson Rd 081-853-1508 FAX
Greenwich, London SE10 England
(Good shop, just outside the gates of the Maritime Museum at
Greenwich; catalog is 65p, but you should send a couple of
dollars + International Reply Coupons, as the cost of airmail
is high.)

Maritime Museum Models (John Pignatelli) 310-548-7618
Los Angeles Maritime Museum
Berth 84
P.O. Box 1147
San Pedro, CA 90731
(Fiberglass hulls of warships & commercial vessels)

MB Models (M. Bishop) 803-767-4209
622 Old Trolley Rd mailto:MBishop446#aol.com
Summerville, SC 29418
(resin models)

Masterpieces in Miniature
P.O. Box 387
Medford, MA 02155

MCD Model Control Devices 705-738-1335
PO Box 173
18 Reid Street
Bobcaygeon, Ontario
Canada K0M 1AO
(705) 738-1335
(Electronics - Speed controls, monitors, multi-switch devices)

Merrimack Miniatures (Joel Gregory)
1524 Lois Drive
Shoreview, MN 55126
(25 and 15 mm wargaming ship models)

Midwest Product Co., Inc. 219-942-1134
400 S. Indiana St. 800-348-3497
P.O. Box 564 219-942-5703 FAX
Hobart, IN 46342-0564 mailto:midw...@pla-net.net
("Rainbow" - America's Cup J-Boat Class Racer)
call to locate nearest dealer

Model-aire International (Thomas A. Young) 415-924-0340
PO Box 554 415-924-0640 FAX
Corte Madera, CA 94976-0554 mailto:male...@aol.com
(primarily aircraft, but some ship model resin kits)

Model Boats Unlimited 609-783-9163
P.O. Box 1135
Haddonfield, NJ 08033
(Warship & pleasure boats, catalog $7.00; current update $4.00)

The Model Dockyard (Nick Tonkin) +44 1872 222120
Tremorvah Barton +44 1872 260073 FAX
Truro Email: mailto:mo...@dockyard.co.uk
Cornwall, TR1 1NN WWW: http://www.dockyard.co.uk
England
1872 260073
(Worldwide mail order. Specialist suppliers to the scale ship
modeler. Period & modern kits, worlds largest selection of
boat fittings, timber, plans, steam plants, hand & power tools,
books, etc etc. Complete catalogue is available on Web site.)

Model Expo, Inc. 800-222-3876
P.O. Box 229140 800-742-7171 FAX
3850 N. 29th Terrace
Hollywood, FL 33022
http://www.modelexpo-online.com/profiles/index.htm
(Specializes in imported plank-on-bulkhead kits, some others,
fittings, books, tools;
Model Shipways Division - (well researched kits - solid hull
& POF, fittings, books specifically covering many of their
models;
Espec. Recommended - "Neophyte Ship Modeler's Jackstay" by
Campbell, and "Historic Ship Models" by zu Mondfelt)
Combined Catalog - $5.00

Model Shipways == ACQUIRED BY MODEL EXPO!

Nature Coast Hobby Shop
6773 S. Hancock Rd http://naturecoast.com/hobby
Homosassa, FL 34448 mailto:a...@naturecoast.com
(Ship model kits; On line, toll free ordering, visa and
mastercard.)

Naval Base 718-471-3226
PO Box 207
Cedarhurst, NY 11516
(One of the few sources for Nichimo 1/500 scale Japanese
warships, and have a nice catalog; Plastic/resin ships, wide
selection, ~list prices, accessories and a few books.)

Nautilus Models (James Corley) 770-973-3482
mailto:jdco...@ix.netcom.com
http://www.nautilusmodels.com
(Resin kits and conversion sets for Revell ships)

Naval Works 714-646-6746
1964 Federal Avenue
Costa Mesa, CA 92627
(1:700 resin kits)

The Naval Base 516-295-9525
560 Willow Avenue
Cedarhurst, NY 11516
(They carry pretty much all of the current-production plastic
ship models. They also list the following Pre-WWII resin kits
(some scratchbuilding is required). [from Todd Hoogerland]).
( Unlike most model catalogs, the kits are grouped by category,
i.e. British Battleships, American Aircraft Carriers, Japanese
Subs, etc. Scales and kit manufacturers are all mixed up
within categories, though. Prices don't look that great, but
they do have a lot of stuff most mail order places don't carry
and the novel organization by ship type is very useful.
[from Matt Melchert]).

North River Scale Models, Inc.(Jim & Marilyn Roberts)
P. O. Box 426 mailto:SSBNd...@aol.com
Dover, N. J. 07802
(POF & solid kits, cannon, brass & brittiania fittings,
re-issuing Marine Model kits - Catalog - $3.00)

Northeast Model Products (Ted Stinson) 207-882-7154
Wiscasset, ME
(model kits)

Pacific Front Hobbies (Bill Gruner) 425-821-2564
11804 NE 138th St. 425-821-9034 (FAX)
Kirkland, WA 98034 mailto:pacf...@accessone.com
(Distributor 1:1250 to 1:192 resin kits; and (mostly WWII)
aircraft and books; list price, wide selections, periodic
updates; Full line catalog is $5.00, UPDATE subscription is
$6.00/year for 6 issues, and new 1250TH FLEET newsletter for
1/1250 collectors is $4.00/year. Accept Visa, Mastercard and
Amex.)

Pacific Monograph 808-263-6067
1124 Kahili Street mailto:bu...@aloha.net
Kailua Hawaii 96734 http://www.pacifichistory.com
(Resin models of the 96th fleet)

Paper Models International 503-646-4289
9910 S.W. Bonnie Brae Drive
Beaverton OR 97005
(Extensive catalog of ships, aircraft, vehicles, and others.)

Pelta (Marek Machala)
16 Swietokryzka Street mailto:pe...@pol.pl
00-050 http://www.pelta.pol.pl
Warsaw, Poland
(Hobby Shop)

Pleasant Cove Models Email: mailto:gin...@pcm.ultranet.com
17-N Potter Rd http://www.ultranet.com/~ginger
Framingham MA 01701
(Wood kits of small craft, built like full size boats. Sea Bird
Yawl, Skiff, Canoes, Lobster Boats, etc. Also made to order
cases and custom machine shop work related to model boats.)
Catalog - $2.00

Precision Scale Model Engineering 508-478-3148
33 Harding Street
Milford, MA 01757
(Precision tools, materials, lights, fiber optics, pneumatics,
motors, gears, bearings, couplings and hardware -- catalog:
$3.00 - payable to Lawrence J. Milo)

Resin Unlimited 414-255-5411
P.O. Box 1056
Menomonee Falls, WI 53052
(SS Edmund Fitzgerald 729ft long - avail 2/98 $599.99 + $4.00
shipping)

Rocky Mountain Scale Subs Unlimited
4255 South Buckley Road # 120
Aurora, CO 80013
(1:50 Scale Type XXI U-boat; SS-1 HOLLAND, etc.; catalog, $4.00.)

Rocky Mountain Shipyard (Lisa Norman) Closed 2/2000

Sagebrush Models 307-686-1437
801 Overdale Dr.
Gillette. WY 82716
(Good selection of out-of-production kits, some ship models.
Most brands offered. Also deal in some current stuff. The guy
that runs the business is also a Park Ranger, so delivery in
the summer is spotty {He says this in the price list}.)

Saturated Steam 1-800-423-9009
A division of Small Parts, Inc.
P.O. Box 4175
Miami Lakes, FL 33014-0175
(steam engines, some suitable for model boats)

The Scale Shipyard / Warship Hulls Unlimited 310-428-5027
5866 Orange Ave. #3
Long Beach, CA. 90805-4146
(WWI-present fiberglass hulls, etc., for radio control models)
Catalog - $6.00
I don't know if this is the same:
The Scale Shipyard
3727 166th Pl. S.W.
Lynnwood WA 98037-7072
(Many different subs, American, German, Japanese; Catalog $6.00)

Scaleships (Armand Veronico) 310-822-8945
P O Box 12131
Marina del Rey, CA 90295
(large variety of fiberglass hulls)

Scale Specialties 714-535-7486
P. O. Box 1117
Fullerton, CA
(Wargaming accessories, art prints, archival documents
(declassified) )
Catalog - $5.00

Seacraft Classics 800-356-1987
(sorry, no address)
(USS Constitution Kit, 1/8th scale. Costs $490 for the kit)

Select Hobby Supplies 203-633-9064
P.O. Box 723
Glastonbury, CT 06033
(Dealer kits & fittings)

Ship Ahoy Models and Miniatures 617-233-6134
18 Cooper St. Boston, MA 02133
(models and tools -- catalog $1.00)

Ships N'Things 908-722-0075
P.O. Box 605-D
Somerville, NJ 08876
(R/C & Static -- Catalog - $5.00 (refundable)

Sirmar Model Ship Fittings +44 384 263252
P.O Box 127
Stourbridge
West midlands
DY8 5XY
England
(1:96 fiberglass model of U.S.S. Farion (56" long), U.S.S.
Ticonderoga (7.5" long). [from Nick Tonkin])

Slagel Models, Inc.
P.O. Box 1639
Longview, WA 98632-7791
(Manufacturer nuclear submarine resin kits)

Squadron Mail Order 214-242-8663
1115 Crowley Drive 214-242-3775 FAX
Carrollton, TX 75011-5010 http://www.squadron.com/mailorder/
(Dealer plastic kits - ships, planes, armor; General models,
fast service, list prices, monthly updates)

Steel, Chapman & Hutchinson Ltd 650-463-5703
815 High Street 650-324-2179 FAX
Palo Alto, CA 94301 mailto:p...@sirius.com
http://www.ModelSailingShips.com
(They produce a line of 1:24 RC sailing model warships; available
both as kits and completly built.)

R. Stab +33-1-42-97-44-76
35 Rue Des Petits Champs +33-1-42-86-81-54 FAX
Paris 1, France
(Anyone interested in decorative items for period ships should
obtain one of their catalogs. The price of 75 French Francs
($15.00) is a bit much but its well worth it. BTW if they have
kept their catalog in the same format as in the past, all of
their fittings are shown photographically and in their actual
size. Be prepared to deal with a French language publication.)

Sterling Models, Inc. 215-426-4100
3100 C St.
Philadelphia, PA 19134
(Manufactures kits of the Emma Berry and America.)

Super Scale International, Inc. 702-882-8887
P.O. Box 1017
Carson City, NV 89702
(Decals for military aircraft in various scales.)

SWAMPWORKS MFG 417-831-2309 9-5 CDT Mon-Fri
1810 N. Farm Rd. 197 Email: mailto:SWAM...@aol.com
Springfield, MO 65802 http://www.kutz.com/swampworks/
{SWAMPWORKS MFG. offers a complete line of warship kits,
drive gear, bilge pumps, BB cannons, and CO2 delivery systems
designed just for the sport / hobby of R/C Model Warship Combat.
A package consisting of: catalog, price list, a brochure about
the hobby of R/C model warship combat, information about
contacting club members and club membership, and a copy of the
Battling and Construction rules along with the legal ship list
of the INT'L R/C WARSHIP COMBAT CLUB. is available for $6.00.)

Thoroughbred Figures (Toby Barrett) 757-686-1048
4106 Timberland Drive 757-686-1048 FAX
Portsmouth, VA 23703 mailto:trba...@worldnet.att.net
http://warship.simplenet.com/thoroughbred.htm
(1:600 white metal Civil War ironclads & ships)

Tom's Modelworks (Tom Harrison) 408-777-TOMS
1050 Cranberry Drive mailto:tomsmod...@worldnet.att.net
Cupertino, CA 95014 USA. http://www.tomsmodelworks.com
(1:350 complete PE sheet for the Tamiya Fletcher; $16)

Tower Hobbies 800-637-6050
P.O. Box 9078 800-637-4989 (order asst)
Champaign, IL 61826-9078 http:www.towerhobbies.com
(Mail order hobby shop)

Twelve Squared
P.O. Box 21567
Eagan, MN 55121-0567
(Resin model of CSS Hunley. Send a SASE for a catalog.)

The Underground Modeler (Ted Waters) 1-800-808-KITS
Sorry, no address http://www.pathcom.com/~unmodel
mailto:unm...@pathcom.com
(wooden ship models, airplane, and metal car models)

Ultracast 519-823-0181
POB 20005
Woodlawn Postal Outlet
Guelph, Ontario N1H 6H6
(Canadian Tribal class destroyer and HMCS HURON; both
waterline 1:700)

Valley Plaza Hobbies 702-887-1027
2211 Mouton Drive 702-887-1027 (FAX)
Carson City, NV 89706-0471
(Model ship kits and supplies)
Catalog - $3.00

Vanguard Model Marine
2446 Bank Street, Unit 113
Ottawa, Canada KIV 1A4
(specialized in Canadian Warships. Catalog $2.00)

Victor Model Products 562-803-1897
12260 Woodruff Ave. mailto:Vict...@victor-model.com
Downey, CA 90241 http://www.victor-model.com
(Sailing model yachts)

Village Hobby Shop (George Lewis) 512-452-6401
2700 W. Anderson Ln, Suite 402
Austin, TX 78757
(Ship model kits)

Vintage Limited, USA (Joan Scott) 713-249-8687
(No Address)
California.
(1:1200 or 1:1250 models)

VOCO MARINE MODEL
355 Barrington Ridge
Painesville, OH 44077
(Has released 1/87 (HO) scale kits of a Flush Deck 700 footer
and a 450' tanker in the past, and has a 71" long vacuform
SS Edmund Fitzgerald.)

Westbourne Model Centre 0202-763480
41 Seamoor Road 0202-763480 (FAX too)
Westbourne
Bournemouth
Dorset BH4 9AE
United Kingdom
(A UK source)

Wilhelmshavener Modellbaubogen (04421) 60934
2940 Wilhelmshaven
Ruestersieler Strasse 133-115
Postfach 3247
Telefon (04421) 60934
(Cardstock model manufacturer)

White Ensign Models 01432 820403
Gardener's Cottage 01432 820830 FAX
Cowarne Court mailto:xd...@dial.pipex.com
Lower Eggleton, http://dspace.dial.pipex.com/white.ensine.models/
Ledbury, Herefordshire, HR8 2UF England
(Worldwide Mail Order Specialists for the plastic ship modeler.
Own range of quality 1/700 and 1/350 Royal Navy warship kits
and photo-etched brass accessories shipped AIRMAIL WORLDWIDE
POST FREE. Books, Plans, Plastics, Resins, Gold Medal Models
etched brass accessories, Worldwide subscriptions to the
quarterly journal Plastic Ship Modeler.)

Williams Model Works
10022 Garrett Street http://www.wizard.net/~wmwships/wmw1.htm
Vienna, VA 22181
(Contemporary (steel hull) ship fittings 3/16"=1' to 1/285
scale including 1/192 stud link chain)

Wye River Models 410-827-6091
101 Marlborough Rd.
PO Box 47
Queenstown, MD 21658
(Wooden kits of small Chesapeake Bay working boats.)

32nd Parallel 408-481-3170
P.O. Box 804
Pismo Beach, CA 93448
(manufacturer submarines, R/C)

(This question is continued in Part 20)

John O. Kopf

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Sep 22, 2001, 7:12:04 AM9/22/01

Archive-name: ship-models-faq/part22
Rec-models-scale-archive-name: Ship_Modeling_FAQ/part22

Posting-Frequency: quarterly
Expires: Fri, December 28, 2001 00:00:00 GMT

Last-modified: 22 June 2001

This is the Frequently Asked Questions FAQ (part 22) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###################################################

102. Where can I find information... ?

A. There are a number of research sources available.

Contents of this section:

102-A. BOOK COMPANIES
102-B. MAGAZINES & PUBLICATIONS

102-A. BOOK COMPANIES AND DEALERS
--------------------------

All At Sea Books
768 Military Road
Mosman NSW 2088
Australia http://allatseabooks.com
(Used and Antiquarian Books- Whales, Whaling, Merchant Ships,
Sail, Auistralian Nautical and Naval Reference - 20,000 books.
Prop Michael & Jillian Connell In business 21 years.
Owners of Boronia Art Gallery - Marine Artifacts, Navigation
Instruments, Paintings, Models and Shipping ephemera .....
Australian Commonwealth Government Valuers - Marine Paintings,
Prints, Models and Collections.)

Antheil Booksellers
2177 Isabelle Court
N. Bellmore, NY 11710

Anthony J. Simmonds 011-44-81-853-1727
23 Nelson Road 44-081-858-4422
Greenwich, London SE10 9JB 44-081-312-6632
England
(antiquarian, new and used books on all aspects of naval and
maritime history)

Antiquarian Archive 415-949-1593
379 State Street
Los Altos, CA 94022
(Used books, search services)

Armchair Sailor Bookstore
Lee's Warf
Newport, RI 02840
(New and used general maritime)

Bill Corkhill 203-445-0883
21 Country Club Road
Grotton, CT 06340

The Bookstore 800-331-BOOK
Mystic Seaport Museum Store
Mystic, CT 06355
(New and used books)

Centaur Forge Ltd. 414-763-9175
117 North Spring Street 414-763-8350 (FAX)
P.O. Box 340
Burlington, WI 53105-0340
(The company sells blacksmiths & horseshoers' supplies, but the
catalog contains an extensive list of books, some of which --
on topics such as casting, metalworking, engraving, etc. -- may
be of interest -- catalog $5.00)

Coastal Forces
136 West Broadway
Bangor, ME 04401
(Books & plans)

Columbia Trading Company 508-362-8966
504 Main Street (Rt. 6A)
West Barnstable, MA 02668
(Large selection of out-of-print books from stock of 10,000
books) Catalog - Free

Connecticut River Books 203-873-8881
Goodspeed Landing
East Hadam, CT 06423
(Used and rare books)

Contact Market Research Corporation 792-256-4913
9030 West Sahara Avenue #408 702-256-7297
Las Vegas, NE 89117
(book, "HMS Victory - How to Build A Masterpiece in 1:96 Scale")

Conway Maritime Press is now owned by:

Chrysalis Books Ltd
9 Blenheim Court
Brewery Road
London
N7 9NT
United Kingdom http://www.batsford.com/ConwayMaritimePress.html
(Maritime / Modeling book publisher)

Cornell Maritime Press 410-758-2478
P.O. Box 456
Centreville, MD 21617
(New books on contemporary maritime)

Crawfords Nautical Books 703-534-8521
5520 North 16th Street
Arlington, VA 22205

Cross Hill Books
P.O. Box 798
Brunswick, ME 04011

Hallenbook 518-392-4526
County Route 9 518-392-4557 (Fax)
P.O. Box 357
Chatham, New York 12037
(Books and videos)

J. Tuttle 608-238-SAIL
1806 Laurel Crest
Madison, WI 53705
(Out-of-print and Rare Books about the Sea, Ship & Sailor)

Jean Boudriot Publications 011-44-1892-852445
Ashley Lodge 011-44-1892-853344 FAX
Rotherfield, East Sussex TN6 3QX, England
(New & facsimile reproductions on European sail)

Edward R. Hamilton
Falls Village, CT 06031-5000
(Some used maritime books) http://www.hamiltonbook.com

Edward J. Lefkowitz, Inc. 800-201-7901
500 Angell St. 401-277-1459 FAX
Providence, RI 02906
(Ships & the sea: rare, antiquarian & select reference books)

Linsey Publications Inc. 815-935-5353
P.O. Box 538 mailto:QBC...@prodigy.com
Bradley, IL 60915-0538 http://www.lindsaybks.com/
(Specializes in reprints of "unusual technical books of
exceptionally high quality revealing skills and secret
processes almost forgotten." -- free catalog)

Nautical Books 860-536-0775
37 Riverbend Drive
Mystic, CT 06355
(books and ephemera relating to yachting, boating, steamships,
naval matters, and ship modeling.)

Naval Institute Press 800-233-8764
2062 Generals' Highway, Preble Hall
Annapolis, MD 21401-6780
(numerous books, discount to members)

THE NAUTICAL MIND 416-203-1163
249 Queen's Quay West 416-203-0729 FAX
Toronto, Ontario, Canada M5J 2N5 mailto:bo...@nauticalmind.com
Toll Free (in Canada) 1-800-463-9951
http://www.nauticalmind.com
(The catalogue costs $4.00 Canadian, and the prices are listed
in Canadian dollars - good news to the American members of this
FAQ!)

Nimbus Publishing 1-800-646-2879
3731 MacKintosh Street
P.O. Box 9301, Station "A"
Halifax, Nova Scotia B3K 5N5
(A number of people have recommended their book on "Bluenose
II, Saga of the Great Fishing Schooners" by L. B. Jenson.
Price: $19.95)

Pier Books (Dave & Sandy Roach) 914-268-5845
P. O. Box 5 mailto:pier...@icu.edu
Piermont, NY 10968-0005
(Excellent selection of used & new ship modeling & nautical
books; knowledgeable)

Phoenix Publications, Inc. 414-377-7888
P. O. Box 128
Cedarburg, WI 53012
(Publishers of ship modeling books)
Brochure - free

Plaza Books 707-996-8474
40 W. Spain
Sonoma CA 95476
(occasionally has maritime books)

Rocky Mountain Shipyard CLOSED

Scholar's Bookshelf 609-395-6933
110 Melrich Road 609-395-0755 FAX
Cranbury, NJ 08512 mailto:bo...@scholarsbookshelf.com
http://www.scholarsbookshelf.com
(History, Military History, etc.)

St. Andrews Books 803-772-4551
Tom & Jill Bettendorf
P. O. Box 210756
Columbus, SC 29221
(used books)
catalog (77 p.) - $3.00

Ten Pound Island Book Co. 978-283-5299
76 Langsford St. mailto:tenp...@world.std.com
Gloucester, MA 01930 http://www.abaa-booknet.com/usa/ten.pound/
http://www.tenpound.com/
(books, marine art, antiques & instruments, logbooks, maps
and charts) -- catalog - free (and now on-line too.)

The Kings Market Bookshop (Robert Wayne) 303-447-0234
mailto:Robert...@kingsmarket.com
(Finder service/bookstore "I have never known him to not come
up with a book, and his prices are quite reasonable. Nautical
books are one of his specialties.")

W. Wiegand & Co.
Box 563
Glastonbury, CT 06033
(Out-of-print Maritime Books -- free catalog)
Catalog - free

Wisconsin Maritime Museum Mariner's Gift Shoppe 414-684-0218
75 Maritime Drive 414-684-0219 (Fax)
Manitowoc, WI 54220
(write for book list)

102-B. MAGAZINES & PUBLICATIONS
------------------------

American Boat Modeler (R.C.)
P.O.Box 427
Mount Morris, IL 61054

The American Neptune
The Peabody Museum of Salem
161 Essex Street, East India Square
Salem, MA 01970
(Academic)

Fine Scale Modeler
Kalmbach Publishing Co.
P.O. Box 1612
Waukesha, WI 53187
(Mainly plastic -- $19.95)

The Flag Bulletin 617-729-9410
The Flag Research Center 617-721-4817 (FAX)
P.O. Box 580
Winchester, MA 01980
(bi-monthly journal on flag research; offer assistance to
identify or locate a particular flag)

Live Steam
P.O.Box 169
Traverse City, MI 49685
(Steam Engines, including full-size and model steam boats).

Marine Modeling
Traplet House, Severn Drive
Upton-on-Severn, Worcestershire WR8 0JL
England

The Mariner's Mirror
Derek G. Law, MA Dip.Lib., FLA
Hon. Secretary, The Society for Nautical Research
Librarian, King's College London
University of London, Strand, London WC2R 2LS
England
(Academic)

Model Boats Plans Service
Nexus House
Azalea Drive 01442 66551
Swanley, Kent. BR8 8HU. England 01442 66998 FAX
- or U.S. subscription representative:
Wise Owl Worldwide Publications
4314 West 238th St.
Torrance, CA 90505

Model Ship Builder
SEE: Seaways' Ships in Scale

Model Shipwright
Chrysalis Books 0207 700 7611
9 Blenheim Court 0207 700 4552 FAX
Brewery Road mailto:kpa...@chrysalisbooks.co.uk
London, N7 9NT
United Kingdom http://www.batsford.com/modelshipwright.html
(English Quarterly)
Subscription - available through The Dromedary; 1 year: $36.00

Nautical Collector 703-550-6609
P.O. Box 16734
Alexandria, VA 22302
(Collectibles & maritime history)

Nautical Research Journal
John M. Barry
Circulation Manager
12021 Kerwood Road
Silver Spring, MD 20904
Subscription - 1 year (4 issues): $30.

Plastic Ship Modeler (Dan Jones)
PO Box 2183
Arvada, CO 80001-2183
(Primarily geared to resin builders, but the articles are of
interest to any warship fans - Quarterly; $15.00 US/$20.00
overseas per year.)

Radio Control Boat Modeler
P.O. Box 443
Mount Morris, IL 61054-9858

Scale Ship Modeler
P. O. Box 16149 818-760-8983
No. Hollywood, CA 91606
(mostly modern & RC)
Subscription - 1 year: $26.50

Sea History
National Maritime Historical Society
P.O. Box 68
Peekskill, NY 10566
(Nautical Heritage - $30.00)

Seaways - Ships in Scale 408-978-5657
Seaways Publishing, Inc. mailto:clay...@seaways.com (publisher)
2271 Constitution Dr. mailto:fourwi...@juno.com (office)
San Jose, CA 95124 http://www.seaways.com .
Now incorporates: Model Ship Builder .
Subscription - 1 year: $24.95; 2 years: $46.50

The Egregious Steamboat Journal, Inc. 502-778-6784
Steamboat Masters & Associates, Inc. (Jack E. Custer)
P.O. Box 3046
Louisville, KY 40201-3046
(Bi-monthly)
Subscription - 1 year: $20.00

SubCommittee
Colonel Lester E. Hopper, AUS(Ret)
SubCommittee Membership Chairman
3530 Mimosa Count
New Orleans, LA 70131-8305
RC Submarines - Subscription: $26.00.

U.S. Boat & Ship Modeler
898 W. 16th Street
Newport Beach, CA 92663

Warship International
5905 Reinwood Drive
Toledo, OH 43613

Wooden Boat 207-359-4651
P.O. Box 78
Brooklin, ME 04616
(Full size boats)

Le Chasse Maree
Scop Le Chasse-Mar'ee
Abri du Marin
B P 159
F-29171 Douarnenez Cedex
FRANCE
(the French journal on traditional watercraft)

Modele Reduit de Bateau +33 1 40 37 01 00
Weka Services S.A.R.L. +33 1 40 37 02 17 FAX
82 Rue Curial
75019
Paris, France
...Apparently Weka also has an office in the USA at the following
address:-
WEKA Publishing Inc.
Huntington Point
1077 Bridgeport Avenue
Shelton, CT 06484

CONTINUED IN PART 23

John O. Kopf

unread,

Sep 22, 2001, 7:12:04 AM9/22/01

Archive-name: ship-models-faq/part21
Rec-models-scale-archive-name: Ship_Modeling_FAQ/part21

Posting-Frequency: quarterly
Expires: Fri, December 28, 2001 00:00:00 GMT

Last-modified: 22 June 2001

This is the Frequently Asked Questions FAQ (part 21) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###############################################

101. Where can I find... ?

(This part is a continuation of part 20)

If you are reading this using a browser, the following sites contain most
of the information in this section, and are probably more up-to-date:

Materials: http://www.Naut-Res-Guild.org/sour-mat.html
Dealers: http://www.Naut-Res-Guild.org/sour-dlr.html
Miscellaneous: http://www.Naut-Res-Guild.org/sour-mis.html

101-D. LUMBER & OTHER MATERIALS

------------------------

Ace Resin (John Nitka) 602-886-8051
7481 E. 30th Street
Tucson, AZ 85710
"At this year's IPMS Nationals, I ran across a vendor which
seemed to have a very good product - both the RTV rubber and
the resin. The rubber I have been getting (Dow-Corning 3110,
I think) seems to be similar to theirs, but the resin seems a
whole lot better than anything else that I have worked with.
John Roll"

A.D.M. Model Supplies
P.O.Box 162491
Altamonte Springs, FL 32716-2491.
(Ultra Pro-Shape is a plastic material, which can be used
fir carving, turning, etc. A small sample of Ultra Pro-Shape
and a brochure can be had for <I think> $3.50)

A&M Wood Specialty, Inc. 519-653-9322
358 Eagle Street North 519-653-3441 FAX
P.O. Box 32040 800-447-9344 Orders ONLY
Cambridge, Ontario N3H 5M2
Canada
(They carry an extensive line of all kinds of woods including
boxwood (Castello and English), pear (swiss and domestic),
ebony, lignum vitae, cherry, holly, etc. They publish a
quarterly inventory sheet.)

Alumilite Corp. 616-342-1259
225 Parsons Street 616-342-1299 FAX
Kalamazoo, MI 49007
(Casting products, low viscosity resins; new product:
$PINcaster-9, machine for casting parts in plastic and
low-temperature metals)

Ambroid (Manuel Usle) 802-885-9244
P.O. Box 38 802-885-9223 FAX
Springfield, VT 05156
(They make other things besides model airplane glue, for which
they are best known.)

American Art Clay Co.
4717 W. 16th Street
Indianapolis, IN 46222
("Brush'n Leaf" liquid metal finishes)

American Science & Surplus 847-982-0870
3605 Howard Street 800-934-0722 FAX
Skokie, IL 60076 http://www.sciplus.com
(Mica sheets - for windows, etc.; LOTS of other stuff too.)

Artistry in Veneers, Inc. 908-668-1430
450 Oak Tree Ave.
South Plainfield, NJ 07080
(Veneers, including Pear, Ebony, etc. Catalog $1.50)

Auto-Etch
P.O.Box 12921-A
Philadelphia, PA 19108
(Home etching system)

Badger Air-Brush
9128 W. Belmont Avenue
Franklyn Park, IL 60131
(Well-known name in air-brushes)

Balsa USA 906-863-6421
P.O. Box 164 906-863-5878 FAX
Marinette, WI 54143
(High quality CA glues...lower allergy symptoms)

Belmont Metals, Inc. 719-342-4900
Attn: Phil Karmel
330 Belmont Avenue
Brooklyn, NY 11207
(Britannia metal $12 + in bulk)

Berea Hardwoods (Warehouse) 216-234-7949
6367 Eastland Rd.
Cleveland OH
- or -
Berea Hardwoods (Office) 216-243-4452
125 Jacqueline Drive,
Berea OH 44017
(specializing in unusual woods, but also a good source for
more mundane species. The proprietor is fun to talk to.)

Burman Industries
14141 Covello Street
Suite 10-C
Van Nuys, CA 91405
(The company sells primarily to people who create monsters,
special effects, etc., for the entertainment industry. They
carry a wide variety of foams, silicones, urethanes, and other
material that could be applied to ship modeling. Write for
catalog)

Circuit Board Supplies, Inc. 708-595-7570
820 Maple Lane
Bensonville, IL 60106
(Copper foil in bulk)

Clotilde 800-772-2891
2 Sewsmart Way
B8031
Stevens Point, WI 54481-8031
(source for silk thread)

Constantine 800-223-8087
2050 Eastchester Road
Bronx, NY 10461
(Specialty wood for crafts)

Craft Woods 800-468-7070
2101 Greenspring Drive
P.O. Box 527
Timonium, MD 21093
(Carving woods, tools, books, etc. -- free catalog)

Detail Associates
Box 197
Santa Maria, CA 93454
(U.S.A. Brass wire in various diameters, down to at least .006",
packaged in 12" lengths, usually 12 pieces in each polyethylene
bag: indispensable to the plastic or resin modeler)

Detail Master
P.O. Box 1465
Sterling, VA 20167
USA
(Model car accessories: photo-etched stainless steel parts,
turned aluminum parts & fittings, and wiring. Quite a bit of
this is of interest to the ship modeler. The wiring is available
in many colors (black and white being the most useful), is very
malleable, and is available in diameters down to .0075")

Eager Plastics 773-927-3484
3350 W. 48th Place
Chicago, IL 60632 (773) 927-3484
(Casting materials, resins, RTV, etc.)

Edmond Scientific Co.
101 East Gloucester Pike
Barrington, NJ 08007-1380
(Gears, motors, etc.)

Evergreen Scale Models
12808 N.E. 125th Way
Kirkland, WA 98034
(Plastic material, sheet, formed shapes)

Exotic Woods Inc. 905-335-8066
2483 Industrial Street 905-335-7080
Burlington , Ontario, Canada, L7P 1A6
(They will ship anywhere via UPS or parcel post. They have
great stock of marine, Finnish, and Baltic plywood plus
basswood, boxwood, holly, sycamore, mahogany, walnut, pear etc.)

Flagship Models
2204 Summer Way Lane
Edmond, OK 73013
(1:700 photoetched warship fittings)

Floquil-Polly S Color Corp. 1-888-476-5597
206 Milvan Drive, Weston, 1-888-742-4198 FAX
Ontario M9L 1Z9
(Model ship scale colors; they will send you catalog and
order form if you give them a call.)

FOTOCUT 315-662-3356
F. Hultberg
Box 120
Erieville, NY 13061
(Photo etching from your camera ready copy)

Fowler's Miniatures in Wood 916-478-8919
18175 Blue Tent School Rd.
Nevada City, CA 95959
(A dollhouse supplier, but also carries a variety of woods.
Can also do custom milling of your timber. Free wood price
list.)

Fred Hultberg
Fotocut Labs, Inc.
Erieville Rd., Box 120
Erieville, NY 13061
USA
(Photo-etched kit and parts packs (mostly aircraft), as well
as custom etching)

Gold Medal Models (Loren Perry)
Route 2 mailto:gold...@rockisland.com
Box 3104
Lopez, WA 98261
(GMM ship fitting and decal scales start at 1/720 and end at
1/96 scales, but the bulk the my offerings are in 1/700,
1/400, 1/350, and 1/200 scales, for WWII and modern ships)

Gilmor Wood Co. 503-274-1271
2211 N.W. St. Helens Road 503-274-9839 (Fax)
Portland OR 97210
(large variety of unusual woods, such as 16/4 pear, etc.)

Grandt Line Products, Inc.
1040B Shary Court
Concord, CA 94518
(Plastic nuts, bolts, washers, turnbuckles, and other fittings
in a variety of sizes)

The Hook and Hackle Company 1-800-552-8342
7 Kaycee Loop 1-800-248-8342 Canada
Road, Plattsburgh NY 12901.
(fly-tying stuff, source for small silk thread for rigging; catalog.)

H-R Products (John Seaton)
P.O. Box 67 http://www.msn.fullfeed.com/~hracct/index.html
McHenry, IL 60051
(Manufacturer of cast naval fittings; 1:1200 to 1:12 scales)

K&S Engineering 312-586-8556
6917 W. 59th Street
Chicago, IL 60638
(Sheet & formed metal shapes, drills, taps, dies -- Catalog
$1.00)

Kiyo Design (Nancy Hoyt) 410-280-1942
11 Annapolis St.
Annapolis MD http://kiyoinc.com/fabric.html
(Potential model sailmaking material, both all natural and
mixed natural/synthetic, which looks like just the thing for
us -- up to about 200 threads per inch. Welcomes small orders
(1/4 yard minimum). Ask for "down cambric" or "swiss pima
batiste".)

Lace Place De Belgique 407-368-0808
800 S.W. 17th St.
Boca Raton, Fla. 33486
(Linen thread for lacemakers -- and rigging.)

The Lacemaker 206-486-0940
23732-G Bothell Hwy. SE
Bothell, Ga 98021
(Linen thread for lacemakers -- and rigging.)

The Lumberyard (Dave Stevens) 216-526-2173
6908 Stadium Dr.
Brecksville, OH 44141
(Pre- and custom-cut hardwoods - pre-cut framing timbers for
HAHN models)
Details - SASE; Catalog $2.00

Masterpieces in Miniature
P.O. Box 387
Medford, MA 02155

USA
(Photo-etched brass ship parts and fittings in 1/96 and 1/192 scale)

Metal Buyers Mart 708-628-8620
N15 W22218 Watertown Rd. 1-708-628-8747 FAX
Unit #3
Waukesha, WI 53186
(This source has an excellent variety of brass rod in numerous
shapes and cross sections as well as nickel silver along with
many others. They also carry phosphor bronze sheet which makes
into great scrapers for shaving wood. The catalog is $3.00 and
contains a glossary and table concerning the various metals and
what they can be used for. Pricing is reasonable and is
configured for small purchases.)

Modellers Shipyard
P.O. Box 406
Nowra, NSW 2541
Australia
(Write and ask for a price list. They have a selection of
different woods.)

M. V. Products
P.O. Box 6622
Orange, CA 92613-6622
USA
(Lenses: clear, red, green, blue, and amber lenses with a
silvered backing in a great many sizes: just the thing for
searchlights and navigation lights)

Nancy's Notions, Ltd. 800-833-0690
P.O. Box 683
Beaver Dam, WI 53916-0683
(source for silk thread)

Newark 800-736-6783
6473 Ruch Road
P.O. Box 27030
Lehigh Valley, PA 18002-0730
(source for silk thread)

New England Reprographics 1-800-244-8887 (MA only)
80 Mid-Tech Drive 508-790-1114
West Yarmouth, MA 02673 508-790-3432 FAX
("Imperial Blue" DRAFTING LINEN! current prices:
24 x 36 inch sheet = 13.63/sheet;
36 x 20 YARD roll(yes yard)= 350.00; and
42 x 20 yard roll = 375.00. Accepts mail-order.)

Northeast Hobby Products (Jim Gilliett) 508-459-7900
Stedman Industrial Park, Units 3 & 4 508-459-6200 FAX
225 Stedman Street
Lowell, MA 01851
(Cyanoacrylate glues)

Northeastern Scale Models, Inc. 508-688-6019
P. O. Box 727SE
Metheun, Mass. 01844
(Laid-up decking, shaped lumber - 1/4 & 1/2 round, double-bead,
stripwood)
Catalog - $1.00

On the Fly 815-877-0090
3628 Sage Drive
Rockford, IL 61114
(Fly tying materials...including silk thread - 3/0 is 0.003"
diameter and so on up to 12/0.)

Paper Arts Studio (Shari) mailto:Sha...@aol.com
(Small sheets of mica in 0.5 ounce bags for $5.50. The size
of the sheets can range in size, but if you are looking for a
specific size, they can sort through the bags to find what you
need.)

Pelican Wire Co., Inc. 813-597-8555
6266 Taylor Road
Naples, FL 33942
(Nichrome wire for laying up wire rope)

Phoenix Model Company 352-754-8522
P.O. Box 15390 352-754-1882 FAX
Brooksville, FL 34609 http://www.phoenix-model.com/
(all types of models, some non-main-line manufacturers,
modeling tools & paint, 15-25% sales, FREE catalog, online
pictures.)

Plastruct 800-666-7015
1020 S. Wallace Place
City of Industry, CA 91748
(Sheet and shaped plastic)

Photofabrication Engineering Inc.
500 Fortune Drive
Milford, MA
(They do a nice job and generally supply in 18" x 24" sheets.
As a general rule, if you send them the artwork, it will cost
about $250 for the first sheet (set up fees, art fees, etc.);
after that, sheets are about $30. -- Al Ross)

Plano Model Products
2701 W. 15th St., Suite 113
Plano, TX 75075
USA
(Photo-etched stainless steel walkway in several patterns, in
model railroad "N" scale, suitable for large naval or merchant
ship models (1/192 and larger), and other etched brass products)

Precision Scale Model Engineering 508-478-3148
33 Harding Street
Milford, MA 01757

(Tools, gears)

ProSciTech
PO Box 111, Thuringowa
Qld. 4817, Australia
http://www.proscitech.com.au/get_frames.htm?http://www.proscitech.com/g20.htm
(Mica: 50mm x 75mm sheets at AU$45.00 for 50 grams.)

Roman Barzana 813-882-4925 (6:30-10 p.m. EST)
8102 N. Sheldon Rd. #1308
Tampa FL 33615
(Fine woods for the serious artist)

Robin's Bobbins 404-374-6916
Rt. 1 Box 1736
Mineral Bluff, Ga 30559
(Linen thread for lacemakers -- and rigging.)

The Scale Shipyard (Lee Upshaw) 310-428-5027
5866 Orange Ave. # 3 mailto:Scals...@aol.com
Long Beach, CA 90805
(Makes fiberglass hulls for both the Gato & Balao class subs of
WW II in 1/8"=1', 1/4"=1' and 1:72 scales. These are hulls with
the fiberglass conning tower, cast resin dive planes and cast
metal guns and fittings, a lot of scratch building is required
to build these and they are for the more advanced modeler but
plenty of novices have built these, they have good accuracy and
the 2 larger boats are suitable for R/C. It should be noted that
these are not kits. Their submarine-only catalog is available
for $3.00. The full catalog of the surface ships in these same
scales is available for $6.00.)

Sig Manufacturing 515-623-5154
PO Box 520 515-623-3922 FAX
Montezuma, IA 5171-0520
(Cyanoacrylate glue)

Small Parts Inc. 800-423-9009
13980 N.W. 58th Court 303-558-1255 (catalog)
P.O. Box 4650 303-557-7955 (service)
Miami Lakes, FL 33014-0650
(Gears, shapes, parts, screen, hypodermic tubing, drills, etc.)

SnJ Model Products
P.O. Box 292713
Sacramento, CA 95829
USA
(Bronze paint and polishing powder for ships' propellers:
airbrushable only)

Snyder and Short Enterprises
9175 Keifer Blbd, #223
Sacramento, CA 95826
(several sets of World War II ship color paint-chips;
US: 2, Japan: 1)

Special Shapes Co. (Wally Findysz) 630-759-1970
1356 Naperville Drive 630-759-1978 FAX
Romeoville, IL 60441 1-800-51-SHAPE (Orders only)
http://www.specialshapes.com
(Small etched brass and structural shapes -- catalog $1.00)

SPI Supplies sells mica at their website. The appropriate URL is:
http://www.2spi.com/catalog/submat/mic_shet.html
(They sell research quality mica at US$8.00 for 10 1.5mm
thick 50mm x 75mm sheets (or 2"x3") )

Ron Stetkewicz, miniaturist 518-622-8311
HCR-1 Box 61B
Cairo, NY 12413
(Photo etching from your camera ready copy)

Stock Drive Products 516-328-3300
2101 Jerico Turnpike
Box 5416
New Hyde Park, NY 11042
(Belt drives for R/C)

Testor Corporation (Nancy Rainwater) 815-962-6654
620 BuckBee Street 815-962-7401 FAX
Rockford, IL 61104 http://www.testors.com
(Model paints, airbrushes)

Van Dyke's Restorers 605-796-4425
4th Ave & 6th St. 1-800-843-3320 (orders only)
PO Box 278
Woonsocket, SD 57385
(primarily house/furniture restoration supplies, but some
odd item hard to find elsewhere -- such as MICA...useful for
model ports, windows, etc.)

Von Huene Workshop, Inc. 617-232-6288
65 Boylston Street
Brookline, MA 02146
(Boxwood! $3.oo/pound, $45 minimum, + postage. This is a maker
of musical instruments, such as recorders; this wood is of
excellent quality, but consists of pieces he can't use - off
cuts, slabs, pieces with knots and splits; still a great source
- our club bought 40+ lbs and resold individual pieces to
members at $.20/oz.)

Waldron Model Products
P.O. Box 431
Merlin, OR 97532
USA
(Punch and die set, useful for punching out disks in six sizes
for hatches, trunnion caps, tampions, and a myriad of other
fittings from styrene and thin gauge brass, aluminum, and copper)

Warner Woods West (Lloyd Warner) 435-652-4400 (eve. & wkends)
P.O. Box 100 mailto:warw...@xmission.com
440 West Old Highway 91
Irvins, UT. 84738
(Domestic & Imported woods, pre- & custom cuts - single, double
triple blocks. Also has taken over the line of linen thread
formerly provided by Unicorn Books and Crafts. Details - SASE)

Woodcraft
210 Wood County Industrial Park 1-800-225-1153 (credit card orders)
PO Box 1686
Parkersburg, West VA 26102-1686
(Their basic catalog contains lots of nice tools. They now have
BOXWOOD (South American) at ~$21 board ft, and Pearwood at ~$18
board ft - both in limited size blocks, apparently intended for
turning.)

Woodland Senics
PO Box 98
Linn Creek, MO 65052
(dry transfer lettering)

101-E. MISCELLANEOUS
-------------

AMW 207-633-3698
P.O. Box 384
East Boothbay, ME 04544-0348
(Custom display cases)

BK Engraving Co. 617-451-1483
373 Washington Street
Boston, MA 02108
(Brass nameplates engraved to order)

Eclectic Products, Inc 1-800-767-4667
(Information on contact cement (!) )

Conservation Products Company 702-331-0582
1165 Marietta Way
P.O.Box 2884
Sparks, Nevada 83131
(products for conservators (e.g., antiques, books, etc.); some
are useful for cleaning ship models.)

Gbishop 510-820-1986
Geoffrey Bishop
P.O. Box 874
Danville CA 94526
(Resin "dollhouse" architectural castings, but some of them can
provide sources for carved ornamental moldings - catalog $2.00)

George M. Creations 914-628-4249
106 Crane Rd. 914-628-0980 FAX
Carmel, NY 10512 mailto:geo...@cyburban.com
(Manufacturer of custom made Ship Model Display Cases of
Mahogany, Oak & Bass woods. Free brochure & price list.)

H. B. Rusk Company 316-552-7381
1279 S. Minnesota
Wichita, KS 67211
(Custom oak display cases)

Hotchkiss Manufacturing 800-444-5005
484 Pleasant Valley Road 503-476-4418 (in OR)
Merlin, OR 97532 http://www.chatlink.com/~hotchkiss
mailto:hotc...@chatlink.com
("Case Clear", cleans and glazes glass and Plexiglas)

HY-TECH 301-916-2280
P. O. Box 111
Odenten, MD 21113-0111
(Fail safes, automatic light controls, water detectors,
automatic circuit breakers and voltage regulators)

Itty Bitty Builder 510-947-1572
Larry Herman
405 Kirby Court
Walnut Creek, CA 94598
(Doll house stuff, scales 1:12, 1:24, 1:48; some of the latter
might be useful for ship modeling)

J. A. Gates, Cabinet Maker 207-967-2405
P. O. Box 272
Cape Porpoise, ME 04014
(Museum quality hand rubbed cherry cases. Beautifully finished
and reasonably priced. Satisfaction guaranteed)

Jim Campbell, Artist 408-453-6173
335 W. Rosemary St.
San Jose, CA 95110

Microbrush Corporation (Mark Phillips, VP) 813-572-8444
4505 131st Avenue North #8 813-573-1028 (FAX)
Clearwater, FL 34622
(bendable applicators/brushes for reaching those hard-to-reach
places)

Rick S. Fortenberry, Owner (508) 385-4019
Cape Cod Scale Watercraft mailto:Wha...@aol.com
Construction & Restoration of Fine Watercraft Models
1335 Route 134
POB 1459
East Dennis MA 02641-1459
http://www.mywebpage.com/mwps1/cntrys1/usa/ma/eastden/5686.htm
("Construction & Restoration of Fine Watercraft Models")

Graham K. Salt + 44-329-239561
6 Flamingo Court
Fareham, Hampshire PO16 8PQ England
(Research Historian - Maritime/Military Commissions Accepted)

Southport Video 414-552-5411
4609 74th Place 414-697-1322 FAX
Kenosha, WI 53142
(Specializes in the production of shipwreck videos.)

Stitkewicz Chemical Milling 518-622-8311
HCR 1
Box 61B
Cairo, NY 12413
(Small jobs, Production Jobs, Prototypes)

Treasure Beach Co. (Kathryn St. Amant) 310-473-1137
P.O. Box 10263 310-473-1197 FAX
Marina Del Rey, CA 90292 mailto:capt...@AOL.com
2412 Federal Avenue
Los Angeles CA 90064
(Kathy (the owner), creates bronze, brass, silver (even gold)
castings of cannons, figureheads (she has a really neat lion)
stern, gallery, and porthole carvings, not to mention "little
people".)

United States Naval Institute 800-233-USNI
Customer Service 410-224-2406 (FAX)
Operations Center
2062 Generals Highway
Annapolis MD 21401
(best selection of naval books, discounts for members)

101-F. SHIP MODEL and MARITIME DEALERS, APPRAISERS, BUILDERS, CONSERVERS

-----------------------------------------------------------------

The Admiralty Model Gallery 409-766-1777
Harbor House #28, Pier 21
Galveston, TX 77550
(Models, gifts, restorations)

All Hands On Deck 212-748-8668
Model Shipbuilding- Restorations & Repair
at The Maritime Crafts Center
South Street Seaport Museum
New York, NY 10038
Atten: Gregory J. Williams
(Build from scratch or kit scale model ships. All Hands On
Deck also builds ships-in-bottles, scale musical instruments,
and dioramas. Also repair or restore damaged models.)

Altec Plastics, Inv. 617-269-1400
116 B Street 617-269-8484 (FAX)
Boston, MA 02127
(Acrylic displays and custom model cases)

ALNAVCO 804-442-2323
Box 9
Belle have, VA 23306
(1:1200 w1 metal warships)

American Marine Model Gallery 508-745-5777
R. Michael Wall, Director 508-745-5778 (FAX)
12-IN Derby Square mailto:wall...@aol.com
Salem, MA 01970
(Since 1975: Offering an extensive selection of fully
documented, investment grade, one of a kind ship models, by
the world's finest marine model artists. Each model is
constructed to museum quality standards. Restorations,
Appraisals, Display cases, Lighting and Custom built models.
Fully Illustrated Catalog $10.00 US, $15.00 overseas)

Ancient Mariner, Inc.
238 15th Street #13
Atlanta, GA 30309
(Antiques)

Andrew Jacobson Marine Antiques 508-468-6276
P.O. Box 2155
South Hamilton, MA 01982
("Americana . Ship Models . Out-of-print Books . Paintings .
Catalogs at Whim . Vintage Photos")

Antiques of the Sea (by appt.) 310-592-1752
16811 Pacific Coast Hwy
Sunset Beach, CA 90742-0023

Arrangements, Inc., Marine Division 914-238-1300
P.O. Box 126
Mt. Kisco, NY 10549
(Models)

Bill Thomte T/A, St Michaels 410-745-3080
P.O. Box 299
St. Michaels, MD 21663
(Nautical antiques)

David Air (by appt.) 212-925-7867
8 Beach Street
New York, NY 10013
(Model & marine art & artifacts)

Dockyard Ship Model Gallery 315-824-2462
P. O. Box 303
Hamilton, NY 13346
(Museum quality investment grade ship models)

Tom Fordham 831-372-3566
POBox AD
Pacific Grove, CA 93950
(Repair, Restoration and Commission)

John Johnson's Steel Navy Models 512-839-2134
2310 Lambros
Midland, MI 48642
("Contract models of 20th century ships custom built for the
discriminating collector. Specializing in USN Warships.
For an illustrated brochure send $2.00")

International Marine 800-822-8158
Blue Ridge Summit, PA 17294-0840
(books, videos, etc.) free catalog

Lannan Ship Models 617-451-3650
58 Thayer St.
Boston, MA 02118
("Ship Models Wanted")

The Military Bookman 212-348-1280
29 East 93rd Street
New York, NY 10128

Mystic Maritime Gallery 203-572-8524
Mystic Seaport Museum Stores, Inc.
Mystic, CT 06355

North Star Gallery 212-794-4277
1120 Lexington Ave at 78th St.
New York, NY 10021
(Models)

Oliphant & Co. 212-439-0007
790 Madison Ave
New York, NY 10021
(Marine arts)

John Pignatelli 310-548-7618
Artist in Residence
L. A. Maritime Museum
Berth 84
San Pedro, CA 90731
(Hand custom crafted ship models built, restored, molds made)

Port & Starboard 207-781-4214
67 Johnson Road
Falmouth, ME 04105
(Antiques & art)

Preston 516-477-1990
Main Street Wharf
Greenport, LI, NY 11944
(Dealer, nautical items)

Safe Harbor (Frank A. Wolz) 602-998-8982
5722 E. Corrine Dr.
Scottsdale, AZ 85254
(Model display cases)

Sara Conklin, ISA 415-467-6249
239 Sierra Pt. Rd.
Brisbane, CA 94005-1664
(Ship model appraiser)

Seacraft Classics 800-356-1987
7850 E. Evans Road, Suite 109
Scottsdale, AZ 85260
(Models -- free catalog)

Seafarer Ltd. 609-652-9491
Rt. 9, Lily Lake
Oceanville, NJ 08231
(Free brochure, $3.00 for list)

Showcase Model Company
P.O. Box 470
State College, PA 16804-0470

Shuttleworth
P.O.Box 231
West Covina, CA 91792
(Maritime ephemera, models art & antiques)

Tall Ships (Fred E. Tournier) 303-922-9882
Master Model Shipwright
1435 S. Fenton
Lakewood, CO 80226
(Custom-built models, appraisals, repairs)

West Sea Co. 619-296-5356
2495 Congress Street
San Diego, CA 92110
(Nautical antiques and art -- free catalog)

Frank Wilhite 909-865-1238
Ship Model Commissions, restoration & Repairs
(no address)
(Frank has also been doing quite a lot more model repairs
-- lots of people are using him as a source & reference...)

Vallejo 714-642-7945
1610 West Coast Hwy
Newport Beach, CA 92663
(Art & antiques)

John O. Kopf

unread,

Sep 22, 2001, 7:12:10 AM9/22/01

Archive-name: ship-models-faq/part23
Rec-models-scale-archive-name: Ship_Modeling_FAQ/part23

Posting-Frequency: quarterly
Expires: Fri, December 28, 2001 00:00:00 GMT
Last-modified: 27 August 2001

This is the Frequently Asked Questions FAQ (part 22) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###################################################

102. Where can I find information... ?

A. There are a number of research sources available.

CONTINUED FROM PART 22

Contents of this section:

102-C. PLANS
102-D. SOURCES FOR PHOTOGRAPHS
102-E. GENERAL
102-F. INSTITUTIONS
Ship Plans
Records
Photos and Prints
Historical Data
Interlibrary Loan
Individual Ships/Ship Types
Outside of USA

102-C. PLANS
-----

Americal Merchant Marine Museum
Kings Point, NY 11024
(Photos)

Capt. Pete Culler's Plans, (George "S" Kelley) 508-775-2679
20 Lookout Lane
Hyannis, MA 02601
(101 traditional designs; Schooners, contemporary designs)
price list - $1.00
=======> ???Reputedly in reorganization???

Chesapeake Bay Maritime Museum
St. Michaels, MD 21662
(Plans of local boats)

Computer Lofting
470 Hillcrest Pl. #5
Friday Harbor, WA 98250
(Computer generated plans)
details - SASE

Dossin Museum
100 Strand on Belle Isle
Detroit, MI 48207.
(This museum has a variety of plans for different type Great
Lakes vessels. They respond promptly to inquiries.)

John Fryant Plans Service
6508 Dorset Drive mailto:jno...@aol.com
Alexandria, Va. 22310-3018
(Model builders plans for riverboats, tugs, barges and ferries.
Illustrated catalog & price list available listing plans for
thirty five vessels. Price $4.00 U. S.& Canada; $5.00 overseas.)

Floating Drydock mailto:dry...@ptdprolog.net
P.O.Box 250 http://floatingdrydock.com/
Kresgeville, PA 18333 (Tom Walkowiak) 610-381-2004 FAX
(Plans photos & books, mainly warships of WWII; catalog $4.50)

Eric A. R. Ronnberg, Jr.
P.O. Box 410
Rockport, MA 01966-0410
(Boston Pilot Schooner HESPER of 1884)

Essex Shipbuilding Museum
28 Main Street
Box 277
Essex, MA 01929
(Plans for Schooner EVELINE M. GOULART, 1:48, $20.00; P&S +$3.50)

Great Lakes Historical Society 1-800-893-1485
P.O. Box 435 216-967-1519 (FAX)
480 Main St.
Vermillion, OH 44089-1099
(Plans and photos of great lakes shipping; here is the most
recent list of model plans available from the Great Lakes
Historical Society thru their Museum Store:
TOLEDO, City class Great Lakes Towing Co. tug, 1/4" scale, $12
TOLEDO, Water-line model of above, 1/8" scale, $6.75
Lyman Rowboat of 1920s (lapstrake), 1/2" scale, $12
EDMUND FITZGERALD (1957), 1/16" scale, $15
CHARLES WETMORE, whaleback (1891), 1/8" scale, $15
SS KEEWATIN, passenger freighter (1907), 1/8" scale, $15
ARROW, sidewheel steamer (1895), 1/4" scale, $15
CALCITE, self-unloader (1913), $13
JAMES R. LANGDON, sidewheel steamer (1889), $10
A.G. LINDSAY, lumber hooker (1889), $8
CITY OF MACINAC/STATE OF NEW YORK, day passenger, (1883), $14
MASCOTTE, steamer (1885), $8
BENJAMIN NOBLE, steamer (1909), $13
ST. IGNACE, car ferry (1888), $16
NIAGARA, (plan from first reconstruction), $10
Trapnet Fishing Boat, 40 ft., $10
HURON, lightship (24-1/8" long), $20 )

Western Lake Erie Historical Society
Ship Plans Service
5902 Swan Creek Dr.
Toledo, OH 43614
(Also carry the plans as specified in the prior entry.)

Harold M. Hahn
1212 Gordon Rd.
Lyndhurst, Ohio 44124
(Plans of a number of Colonial-period ships, drawn by Hahn for
modelers -- Send (business size) SASE for price lists.)

Hart Nautical Collections 617-253-5942
The MIT Museum
265 Massachusetts Ave.
Cambridge, MA 02139
(General archival plans)

Jecobin
31 Romans Way
Pyrford
Woking
Surrey GU22 8TR
England
(Some cruise ship plans.)

Mariners Museum
Newport News, VA. 23606
(Photos, a few plans)

The Mariners' Museum Research Library 804-596-2222
100 Museum Drive 804-591-7310 FAX
Newport News, Virginia 23606-3759 mailto:tmm...@infi.net
http://www.mariner.org/
(There is a $10.00 (US dollars) charge for all Library research
requests. There is a minimum Chris-Craft research fee of $15.00
(US dollars). )

Maryland Silver Company 410-647-9634
P.O. Box 6220
Annapolis, MD 21401
188 p. Catalog - $9.00; Product & Price list - $4.50;
Civil War Maps Catalog - $2.50

Mosquito Boat Hobbies 619-949-9814
Bob Sattler
7173 Locust Ave
Hesperia, CA 92345
(PT Boats)

Mystic Seaport
Mystic, CT 06355
(Plans, photos)

New Jersey Historical Society
230 Broadway
Newark, NJ 07104
(Collection of plans for oyster boats of S. New Jersey)

Peabody Museum

East India Square
Salem, MA 01970

(Photos)

Philadelphia Maritime Museum
321 Chestnut St.
Philadelphia, PA 19106
(Photos)

Steamship Historical Society Collection
University of Baltimore Library
1420 Maryland Ave.
Baltimore, MD 21201
(Photos)

Thousand Islands Shipyard Museum
350 Mary St.
Clayton, NY 13624
(Plans for St. Lawrence Skiffs)

The Plan Shop (02) 81 2820
64 Victoria Rd, -or- 008 232 705
Drummoyne, (02) 81 3565 (FAX)
Sydney, NSW 2047
AUSTRALIA
(They are actually an architectural establishment (houses & the
like), but they order ship plans in from the UK (delivery to
anywhere in Australia). The owner apparently has a model ship
interest. )

P. Young
P.O. Box 1228
Lebec, CA 93243
(WWII Subs)

Repla-tech International
P. O. Box 461000, Cole Branch
Los Angeles, CA 90046-4146
(Plans - mostly modern navy - ask for Scale Ship catalog)
Catalog - $3.00

Taubman Plans Service International 201-435-5205
11 College Dr., Box 4G 201-985-0438 FAX
Jersey City, N. J. 07305
Very complete plan service, books, research info., MAP plans
- Catalog - $6.50 + $3.50 1st class or $2.00 3rd class shipping;
also has Wiswesser catalog of Warships, Liners, and Merchant
marine for an additional $1.00. Inquiries - send SASE.

Vanguard Model Marine
P.O. Box 708, Station B
Ottawa, Ontario K1P
Canada

Western River Workboats 606-836-1431
1010 Turley Avenue
Flatwoods, KY 41139
(Plans and videos for Inland River Pushboats and Barges
-- Catalog $4.00)

Wisconsin Maritime Museum 920-684-0218
75 Maritime Drive 920-684-0219 (Fax)
Manitowoc, WI 54220
(write for plan list of 19th & 20th century Great Lakes vessels;
plans are typically $7.00 per sheet)

102-D. SOURCES FOR PHOTOGRAPHS
-----------------------

*****Liners

Liner Graphics
P.O.Box 29083
Portland, OR 97229-9083

*****Steamboats

Rock Hill Steamboats
Box 402
Louisville, KY 402?

Ralph R. Dupai
Univ of Wisconsin
LaCross Area Res.
Center Murphy-Murphy Library
LaCross, WI 54601

Public Library of Cincinnati & Hamilton County
800 Vine St.
Cincinnati, OH 45202-2791

*****Tugboats

Tugboat Photo & Research
2861 Bardy Road
Santa Rosa, CA 95494

*****Naval

U. S. Naval Institute
Library & Photographic Service
Annapolis, MD 21401

National Archives & Record Service (GSA)
Still Pictures Branch
Washington, DC 20408

L. C. Van Ginderen
Korte Dykstraat 3
2008 Antwerpen, Belgium

INRO
Warships International
1729 Lois Court
Toledo, OH 43613

Real War Photos
P.O.Box 728-S
Hammond, IN 46320

SeaPhoto mailto:SeaP...@aol.com
1145 Oakwood Dr.
Millbrae, CA 94030
(photographs taken on board US Navy and other vessels for the
purpose of modeler's documentation. A catalog is $ 5 US /
$ 8 overseas.)

102-E. GENERAL
-------

University Microfilms: The UMI InfoStore can do document delivery
for many different items, both in and outside of their collection.
A sample of the types of materials they cover: books, journal articles,
newspaper articles. conference proceedings, government reports,
dissertations, technical reports, NTIS reports, translations, and
manuscripts. Their motto appears to be, "If it exists, we'll find it!".
From inside their collection (i.e. if they have it), you can get 24
hour standard service or 4 hour rush service (by fax). UMI maintains a
copyright clearance center, so all fees are paid.
From outside their collection, the standard service will locate the
document and send it be first class mail within 2-5 working days from
the day the order is received. Next Day service is possible if the
order is received by 1:30 p.m. EST, and the item will be shipped by Fed
Ex or fax. If a delay happens, the InfoStore will alert you to the
problem. Same Day service is also available if the request is received
by 1:30pm EST.
The InfoStore's prices are as follows:
UMI Collection
Base Rate: $9.00 (first 10 pages, $.25 per page beyond 10)
Copyright Fee: $2.00 (standard charge, some may be higher)
Turnaround time: next-day
Delivery: first-class mail - free; fax - $5.00;
overnight - $11.00; Ariel - free (Fax - $5 in US and Canada;
elsewhere $15.00. $1.00 per page after first ten pages.

Extended Collection
Base Rate: $12.00
Copyright fee: varies
Turnaround time: 2-5 days
Delivery: first-class mail - free; fax - $5.00;
overnight - $11.00; Ariel - free

To find out more, visit their web page at:
http://www.umi.com/infostore , or call them at 1-800-248-0360.
Their e-mail address for orders is: mailto:ord...@infostore.com .
(Anita Cohen-Williams)

102-F. INSTITUTIONS
------------

Caution: in most cases, these are staffed by archivists and
librarians, sometimes with little actual knowledge of the
collection.
Be as explicit as possible when making requests -- "tell me
about Clipper Ships" will get you nowhere, whereas "do you
have any information on the Clipper ship 'Rainbow'" is MUCH
more likely to get some sort of response.
Also, these institutions have been hard-hit by the
government "down-sizing", expect LONG delays in responses!

(The majority of the following sources are taken from "Naval History
Resources in Washington DC", by Dana M. Wegner, Western Ship Model
Conference, 23 March, 1996.)

Ships Plans

Most existing USN ships' plans 1776-1949, gun plans, maps, and
patent drawings:
o U.S. National Archives
Cartographic Archives (NNSC)
Washington, DC 20408
(301) 713-7040
{mailing address; documents are located at the National
Archive II, 8601 Adelphi Road, College Park, MD 20740-6001}

The only source for ships' plans within the Navy for ships built
after 1949:
o Director of Congressional and Public Affairs
Commander (NSES-09B21)
Naval Sea Systems Command
Washington, DC 20362 (703) 602-1575
(703) 602-4982 FAX

Plans of some USN ships 1776 to about 1917, full sized copies
of Howard I. Chappelle plans (catalog available):
o Division of Armed Forces History
Museum of American History
Smithsonian Institution http://www.si.edu/
Washington, DC 20560 (202) 357-2250

This collection includes the plans of naval and merchant ships
with emphasis on 19th Century ships. The quality is generally
high. Many are not original drawings, but were done by Howard
I. Chapelle and other for publication. Separate catalogs are
available for naval ships and for merchant ships. The naval
ship catalog does not include modern ships. Each catalog costs
$10.00 and can be purchased, using a check or money order made
payable to the Smithsonian Institution. {Mack Culpepper}
o Smithsonian Collection of Warship Plans
Ship Plans
NMAH 5010, MRC 628
Smithsonian Institution
Washington DC 20560

o Ship Plans
Smithsonian Institution
NMAH-5004/MRC 628 http://www.si.edu/nmah/csr/hot/shipplan.htm
Washington, D.C. 20560-0628 (202) 357-1438
(The person in charge is Paul Johnston, Curator of Maritime
History.)

o Ship Plans
Maritime Collections
NMAH-5010/Mrc 628
Smithsonian Institution http://www.si.edu/
Washington, DC 20560
(ask for The Maritime Administration Collection of Ship Plans
(1939-1970) I think it is $5.00)

Plans for USN small boats:
o Small Boats published periodically by BuShips and NAVSEA
since about 1910.
o The book, Standard Boat Designs for the U.S. Navy, 1900
Reprint by Elliot Press, 1995/96

Plans for USN small boats and coastal craft:
o Naval Sea Combat Systems
Engineering Stations
835 Philpotts Road
Norfolk, VA 23513
(804) 444-9160

Plans of regional and commercial ships including Liberty,
Victory, and MarAd vessels (catalogs available):
o Division of Water Transportation
Museum of American History
Smithsonian Institution http://www.si.edu/
Washington, DC 20560
(202) 357-2025 (202) 357-4356 FAX

Plans for commercial ships:
o National Maritime Museum Association
Bldg. 275, Crissy Field, Presidio of SF
San Francisco, CA 94129
(415) 556-3002 FAX (415) 556-1624
mailto:SAFR_Marit...@nps.gov
(plans: Steam Schooner WAPAMA 1:96 $20; Scow Schooner ALMA
1:48 $16; Monterey fishing boat WETTON 1:12 $16; + $4
shipping (US), $8 overseas)

Records

For pension records, steamship inspection reports, census
records, historic motion pictures, etc.:
o U.S. National Archives
Washington, DC 20408
(202) 501-5400
{mailing address; some documents may be located at the
National Archive II or regional archives nationwide}

Military service records before 1917, agency correspondence,
official reports, etc.:
o U.S. National Archives
Military Records Branch
Washington, DC 20408
(202) 501-5385

Military service records after 1917. You must be related to the
person. Write only:
o National Personnel Records Center
9700 Page Avenue
St Louis, MO 63132

Photos and Prints

Ships, people, and places, 1776 to about 1949:
o Naval Historical Center
Photographic Branch
901 M Street SE
Washington, DC 20374-5060
(202) 433-2765 (202( 433-3593 FAX

o U..S. Naval Academy Museum
118 Maryland Avenue
Annapolis, MD 21402
(410) 293-2108 (410) 269-7940 FAX
{Not a Federal agency}

USN ship, 1945 to present:
o Naval Imaging Command
Washington, DC 20362

Ships, yards, etc.
o U.S. National Archives
Still Picture Branch (NNSP)
Washington, DC 20408
(310) 713-6800
{mailing address; documents are located at the National
Archive II, 8601 Adelphi Road, College Park, MD 20740-6001}

Ships:
o The Library of Congress
Washington, DC 20540

Historical Data

Histories of every U.S. Naval ship until publication date:
o Dictionary of American Naval Fighting Ships, 9 volumes,
published by the Government Printing Office 1959-1991

Ships histories after Dictionary (above):
o Naval Historical Center
Ship's History Branch
901 M Street SE
Washington, DC 20374
(202) 433-3643 (202) 433-3593 FAX

U.S. Navy deck logs:
o Naval Historical Center
Deck Log Section
901 M Street SE
Washington, DC 20374-5060
(202) 433-0824

All unclassified USN log books (index available):
o National Archives
Military Records Branch (NNR1)
Washington, DC 20408
(202) 523-5385

Navy classified operational records post WWII:
o Naval Historical Center
Operational Archives Branch
901 M Street SE
Washington, DC 20374-5060
(202) 433-3224

Navy cruise books:
o Naval Historical Center
Navy Department Library
901 M Street SE
Washington, DC 20374-5060
(202) 433-4133

Interlibrary Loan

o The Navy Library
Washington Navy Yard
Washington, DC 20374
o The Library of Congress
Washington, DC 20540

Individual ships/ship types

o National Liberty Ship Memorial
(supports the liberty ship SS Jeremial O'Brian)
415-441-3101
o Patriots Point Naval & Maritime Museum
40 Patriots Point Road
Mt. Pleasant, South Carolina 29464
1-800-248-3508

Other Sources
o Maritime Archaeology and Historical Society
PO Box 44382
L'enfant Plaza
Washington, DC. 20026
o Lake Champlain Maritime Museum
RR#3 Box 4092
Vergennes, VT 05491
(802)475-2022
o Society for Historical Archaeology
P.O. Box 30446
Tuscon, AZ 85751-0446
o Star of India maritime museum in San Diego
(mailto:in...@sdmaritime.com)
o New Bedford Whaling Museum 508-997-0046

Outside of USA

Belgium
o Nationa Scheepvaartmuseum
Steenplein 1
Antwerp, Belgium

Canada
o Marine Museum of the Great Lakes at Kingston
55 Ontario Street
Kingston, Ontario K7L 2Y2
Canada
(Plans and photos)
o B.C. Museum Association
514 Goverment St.
Victoria, B.C.
V8V 4X4
Canada

o Public Archives of Canada
Map Collection
295 Wellington
Ottawa, Ontario K1A 0N3
Canada
(Plans and photos; e.g., ask for Cartographic and
Architectural Archives Div Ship Model Making List #4 -
Frigates. They have a list of drawings which goes on
for 8 pages. They are all microfilmed, and are printed
on a 18"x24" sheet at a very reasonable price.)

Denmark
o Rigsarkivet
Rigsdagsgarden 9
1218 Kobenhaven K (the "o" is actually "o" + "/")
Denmark
o Royal Danish Naval Museum (Orlogsmuseet)
Overgaden Oven Vandet 58 +45 31 54 63 63
DK-1415 Copenhagen
Denmark
(open Tues. thru Sunday, 12:00 - 14:00)

England
o National Maritime Museum http://www.nmm.ac.uk
Greenwich, London SE10 9NF +44 (0) 181 312 6700
England +44 (0) 181 312 6753
(Plans and photos)
The Caird Gift Shop +44 (0) 181 858 4422
National Maritime Museum +44 (0) 181 312 6632 FAX
Greenwich, London
UK SE10 9NF
(posters)

o Public Record Office 0181-876-3444
Kew 0181-878-8905 (FAX)
Richmond
Surrey TW9 4DU
England

o Liverpool Maritime Museum
Albert Dock
LIVERPOOL, L3 4BB., UK.,
telephone 051 207 0001.

o Science Museum
Exhibition Road
South Kensington
London SW7 2DD

o The Boat Museum
Dockyard Road, Ellesmere Port
South Wirral, Cheshire L65 4EF
Phone: (0151) 355 5017
Fax: (0151) 3554079
Open: Daily in the summer; closed Thurs. & Fridays in
winter
Displays: A big dock complex at ends of the Shropshire
Union & Manchester Ship Canals was restored
from dereliction. It is now a museum with a
collection of over 50 inland waterway boats,
with little coracles, barges, narrow-boats,
ice-boats, tugs & dredgers.

o National Waterways Museum
Llantony Warehouse
The Docks, Gloucester GL1 2EH
Phone: (01452) 318054
Fax: (01452) 318075
Open: daily
Displays: Models, engines & machinery, hands-on exhibits,
illustrate 200 year history of inland waterways.
Historic craft at quayside. Boat trips, horse-
wagon tours, crafts displays, cargo handling &
storage. AV shows. Shop. British Waterways
Archives.

o The Glasgow City Archivist
Strathclyde Regional Archives
City Chambers
Glasgow G2 1DL
Scotland

o Museum of Transport
25 Albert Dr.
Glasgow G41 2PE
Scotland

France:
o Musee de la Marine (33)-1-45533170
Palais de Chaillot (33)-1-47274967 FAX
17 place du Trocadero (33)-1-47550383 (documentation service)
F75016 Paris France
http://www.equipement.gouv.fr/france.ocean/culture/musmar/musmar1.html
(The national maritime museum of France; plans available,
including a number of plans designed for ship modelers)

This (French Navy) organization of "Musee de la Marine" is
in charge of 3 or 4 smaller museums in France like in Brest
(Britanny):
o Musee de la Marine (33)-98221239
Chateau Prefecture Maritime (33)-98433054 FAX
29200 BREST

Beside of this a French "Mystic Sea Port" (much smaller) is
in Britanny at:
o Port Musee (33)-98926520
place Enfer (33)-98920541 FAX
29100 DOUARNENEZ

Interesting stuff can be found at Marseille (Cote d'Azur)
which was a Greek emporium founded some 2500 years ago.
The best is to contact:
o Mairie (Direction des Musees) (33)-91562838
2 rue Charite (33)-91906301 FAX
13002 MARSEILLE

Germany
o Bundesarchiv
Wiesentalstrasse
7800 Freiburg
Germany

Italy:
o Ministero della Marina Militare
Ufficio Propaganda e Informazione
Lungotevere Arnaldo Da Brescia
00100 Roma (Italy)

o Marina Militre
Museo Storical Navale
30122 Castella
2148 Venezia, Italy

Holland
o Rijksmuseum Nederlandse Schepvaart Museum
Department of Ship Draughts
Kattenburgerpleing 1
1018 KK Amsterdam
The Netherlands

Norway
o Norsk Sjofartsmuseum
Bygdoynesvn 37
Oslow 2, Norway
(plans and photos)

Spain:
o Museo Naval
C/Montalban #2
28071 Madrid Spain. FAX 5231850. Telephone 3795299

o Disputacion Provincial de Barcelona
Museo Maritimo
Barcelona
Spain

Sweden:
o Staten Sjohistorisk Museum
Djurgardsbruunsvagen 24
11527 Stockholm
Sweden
(plans and photos)

o Military Records Office
Krigsarkivet
Box 80038 S-104 50
Stockholm
Sweden
(Naval plans)

Israel:
o National Maritime Museum
198 Allenby Road
Haifa 35472
Israel
(good source on ancient Greek, Roman, Phoenician,
Hellenistic galleys or warships)

John O. Kopf

unread,

Sep 22, 2001, 7:12:16 AM9/22/01

Archive-name: ship-models-faq/part25
Rec-models-scale-archive-name: Ship_Modeling_FAQ/part25

Posting-Frequency: quarterly
Expires: Fri, December 28, 2001 00:00:00 GMT

Last-modified: 18 August 2001

This is the Frequently Asked Questions FAQ (part 25) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###################################################

104. What's available on the Internet?
A. LOTS!

What's available depends on what "access methods" you have
available. Some people only have Email available, others have
more but are limited to text only; most have access to a "browser"
and can access the "World Wide Web" (WWW).

NOTE: I record these addresses, but don't necessarily visit them on a
regular basis. Thus, I may not know if they "disappear". If
you try to access one and it appears to be no longer available,
please send me Email at: mailto:ko...@worldnet.att.net ; I'll
check it out and delete the reference if it's really gone. Thanks.

NOTE: See part 01 for the interpretation of these addresses.

LIST SERVERS
############

These are available via Email; they're essentially USENET Newsgroups for
Email:

SEAWAYS-SHIPMODELING-LIST:
Seaways Publishing, Inc., publishers of "Seaways' Ships in Scale"
magazine, is pleased to sponsor this shipmodeling and nautical research
list, in hopes of bringing together the talents and resources of
shipmodelers and researchers of vessels of all eras and types.
They intend to discuss materials and sources, construction hints and
tools and anything else of interest to list members, as long as it
relates collecting information on ships and boats and to building
models of them. They'll talk about static models and R/C, wood and
plastic, sail and power, surface and below. It should be both useful
and fun!
On the research side of things they will be developing a
multi-specialty forum, bringing together the talents and resources
of nautical and maritime historians, shipmodelers, nautical
archaeologists, marine artists, archivists, museum specialists,
full-size replica designers and builders and all others interested
in the design, construction and operation of ships and boats. Again,
all eras and types will be discussed.
To subscribe, go to:
http://groups.yahoo.com/group/SeawaysShipmodelingList
...and follow the instructions.

you can to do a complete search of all past "Seaways" and "Seaways'
Ships in Scale" articles from a pointer on the home page.

Questions or suggestions about the list can be sent to Clayton Feldman
at:
mailto:clay...@best.com .

The Cyberspace Model Yacht Club, A Model Boating Forum, courtesy of Dave Mainwaring.
The focus is on Operational Models powered by Sail, Steam or Electric
power. Marine Modelers, Scale and Semi-scale Model Boat Builders, Radio
Control Yachting (sail) enthusiasts and others interested in model
boating activities are encouraged to take part in the forum.
This is a forum for the recreational model ship builder to discuss model
building, model regattas, and club activities.
TO SUBSCRIBE: send the following email:
TO: mailto:majo...@cybercom.net
subject:
text:
subscribe model-boating {your-email-address}

PLASTIC SHIP MODELS MAILING LIST: just e-mail to:
mailto:shipm...@tac.com.au
...with the word "SUBSCRIBE" in the subject line.

ShipModelers-Forum: to subscribe, send email to:
mailto:ShipModelers-F...@onelist.com

There is an nautical archaeology list called SUB-ARCH. To subscribe to
SUB-ARCH:
mailto:LIST...@ASUVM.INRE.ASU.EDU
with no subject and the following text:
SUBSCRIBE SUB-ARCH {your name here}

MARHST-L is an INTERNATIONAL electronic discussion group sponsored by
the Marine Museum of the Great Lakes at Kingston with the assistance of
Queen's University at Kingston. Subscription is free, and subscribers
will automatically receive messages in their computer mailboxes:
mailto:LIST...@QUCDN.QUEENSU.CA
with no subject and the following text:
SUBSCRIBE MARHST-L (your name)

TALLSHIP (Sailing and Operation of Traditional Sailing Vessels):
mailto:LISTSERV%VCCSCEN...@VTBIT.CC.VT.EDU
....with no SUBJECT and the body containing:
subscribe tallship {your name}
...only.

SHIPS (current maritime activity):
mailto:ships-...@access.digex.net
....with no SUBJECT and the body containing:
Subscribe Ships {your name}
...only.

SEAROOM-L (discussions of the books of Patrick O'Brian):
mailto:LIST...@NETCOM.COM
....with no SUBJECT and the body containing:
Subscribe SEAROOM-L
...only.

YACHT-L (sail racing):
mailto:LIST...@HEARN.BITNET
....with no SUBJECT and the body containing:
SUBSCRIBE YACHT-L {your name}
....only.

MARITIME NETWORK is a biweekly newsletter focusing on communication,
networking, and database news within the maritime community.
Submissions and articles are welcomed. To subscribe:
mailto:MARITIME NET...@DIAMONDLT.COM

---I don't know if this is the same as the next item...

OTHER

There is a COMMERCIAL service called Diamond Light Ocean Services, an
on-line marine information provider. If you're interested, contact:
mailto:admini...@diamondlt.com

-- Fee is $12.50 per month, with one hour free access/(24-hour)day.

CARDMODEL-L LIST:
If you're into card modeling, Paper Modeller's list exists. To
subscribe to the list, send an email message to:
mailto:LIST...@HOME.EASE.LSOFT.COM
...with the following text in the message pane:
SUBSCRIBE CARDMODEL-L firstname lastname
...where firstname is replaced by your first name and lastname by your
last name. Within a few minutes you will receive a message asking you
to confirm your subscription. Just reply to that message, replacing
the text of the message with only the word "ok" (without the quotes)
and you will be subscribed to the CARDMODEL-L list.

Even if you have Email access ONLY, don't dispair. Most of the
documents described below are also accessible by Email. Since most
people DO have alternatives available, I won't go into detail here;
I'll just recommend that you get a copy of: "Accessing the Internet
by E-Mail FAQ".
To get the latest edition, send e-mail to one of the addresses below.
mailto:mail-...@rtfm.mit.edu
Enter ONLY this line in the BODY of the note:
send usenet/news.answers/Internet-services/access-via-email

Advanced Access
===============

USENET NEWS GROUPS
##################

Note: These may not all be carried on all servers!

Check out:

news:rec.models.scale (English, general topics)
news:rec.models.rc (English; RC models)
news:rec.models.rc.water (English; RC models)
news:de.rec.modelle (German)
news:t-netz.modelbau (German)
news:zer.t-znet,modelbahn (German)
news:fj.rec.models (Japanese)

Useful stuff can also be found in:
news:alt.binaries.models.scale (posting of pictures of models)
news:rec.woodworking
news:rec.boats
news:rec.boats.building
news:rec.boats.paddle
news:rec.boats.racing
news:rec.crafts.metalworking
news:rec.jewelery
news:sci.archaeology

FAQs
####

Many of these groups have FAQs (Frequently Asked Questions) available:

Many current FAQs can be found in the newsgroup
news://news.answers .

FAQs can also be accessed via the WWW. The main WWW FAQ archive
site is at:
http://www.faqs.org/ .

FTP access
##########
*THIS* FAQ can be found at:

ftp://ftp.uu.net/usenet/news.answers/ship-models-faq (.ZIP files)
-or at-:
ftp://mirrors.aol.com/pub/rtfm/usenet/rec.models.scale/Ship_Modeling_FAQ/
-or at-:
ftp://rtfm.mit.edu/pub/usenet/rec.models.scale/Ship_Modeling_FAQ/

The rec.woodworking FAQ's can be found in the directory
ftp://ftp.cs.rochester.edu/pub/archives/rec.woodworking/ .

There are two FAQs about Email lists ("List of Periodic Informational
Postings" - listing most of the publicly accessible List Servers;
and "Publicly Accessible Mailing Lists" - similar); They are archived
at:
ftp://rtfm.mit.edu/pub/usenet-by-group/news.lists.misc/ .
Publicly Accessible Mailing Lists can also be accessed at:
http://paml.net/

GOPHER access
#############

"Canoe/Kayak" at:
gopher://ftp.std.com/11/nonprofits/canoe.kayak/ .

"US Naval Fighting Ships" at:
gopher://wiretap.spies.com/11/Gov/US-History/Naval .

@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@@

105. What's available on the WWW?

A. LOTS!
This section is for WWW (Browser access using Netscape, Explorer,
Lynx, etc.).

This question has sections labeled:

SPECIAL!!!
General
FAQs On-line
Lists of Links to Other Sites
Model Boating & Clubs
Ship Model Dealers and Suppliers
Books and Book Shops
Miscellaneous
Sailing Ships

"Steam" ships

Maritime Museums and Research Projects (including Nautical Archaeology)
Research Ships
Government / Military

SPECIAL!!!
==========

The following three sites are especially useful to ship modelers!

"The Maritime History Virtual Archives": a GREAT!!! (and one of the
first!) WWW location, maintained by Lars Bruzelius (in Upsala, Sweden):
http://pc-78-120.udac.se:8001/WWW/Nautica/Nautica.html .

"The Information Seaway" (Clay Feldman's Seaways' Ships in Scale page)
is at:
http://www.seaways.com .
This site includes the seaways-shipmodeling-list List-server's archive,
at:
http://www.egroups.com/files/SeawaysShipmodelingList/Old+List+Archives/.

The Nautical Research Guild site is at:
http://www.Naut-Res-Guild.org .
...The Nautical Research Guild has been linking researchers, collectors,
and builders of the highest quality ship models for nearly fifty years.
Members share a common dedication to learning about ships and maritime
history through academic research as applied and expressed in the
process of ship model building. Founded in 1948, The Nautical Research
Guild, Inc. is a tax-exempt, non-profit educational organization
supported by an international membership.
The Guild offers a great deal of assistance to researchers and model
builders at it's site. In particular, specialized pages include:

Kits: http://www.Naut-Res-Guild.org/sour-kit.html
Materials: http://www.Naut-Res-Guild.org/sour-mat.html

In order to avoid duplication (and to help make the FAQ smaller), entries
that appear at the above sites will NOT be duplicated in the FAQ; you are
encouraged to visit these sites for further links. (Since the FAQ only
appears once every three months, it's also likely that these sites are
more current!)

General
=======

Note: in the interest of brevity, entries duplicated at other sites
have been eliminated from the FAQ. Instead, see also:
http://www.seaways.com/research.html ,
http://www.seaways.com/vendors/list.html ,
http://www.Naut-Res-Guild.org/sour-bok.html,
http://www.Naut-Res-Guild.org/sour-kit.html ,
http://www.Naut-Res-Guild.org/sour-mat.html ,
http://www.Naut-Res-Guild.org/sour-mis.html ,
http://www.Naut-Res-Guild.org/sour-mod.html ,
http://www.Naut-Res-Guild.org/sour-pln.html .
http://www.Naut-Res-Guild.org/sour-pub.html .

Book reviews - This is the place to find book reviews of nautical books
of any sort, fiction or non-fiction, history, boatbuilding, cruising,
modeling, whatever, new or old. At:
http://www.cyber-dyne.com/~jkohnen/books/book_reviews.html .

"Bronze Info" - a set of color chips showing the effects of aging on
bronze and other copper alloys. At:
http://www.jgbraun.com/bronzeinfo.html .

"Building the Model Yacht Turmoil" (A superb set of photographs of
the construction of a model by a professional) can be found at:
http://www.yachtmodels.com/ .

If you need to learn about making castings to duplicate parts for your
models, you should visit:
http://mc.cyklone.com/castlist.htm .

Here's a site devoted to cardstock ship modeling:
http://www.bogo.co.uk/marcle/sd14.htm .

...and another - download card models to print out and assemble:
http://www.digitalnavy.com/ .

Information on Cannons can be found at:
http://www.cwreenactors.com/ (Civil War Re-enactors), and
http://www.valu-line.net/~vansyoc/ .

"International Plastic Modelers Society" has a web site at:
http://www.ipmsusa.org/ .

"Pop-pop Pages" celebrates the amazingly simple and simply amazing
steam toy, the pop-pop boat. At:
http://www.nmia.com/~vrbass/pop-pop/ .

"Welcome to The Spire Project" contains a lot of information for
those trying to research something using the Internet (It's an
expanded version of the Information Research FAQ.) At:
http://cn.net.au/ .

Image Surfer is a search engine which you can search by category or using search terms, but instead of giving its answers in text form it produces a series of small thumbnail images. Much the most useful image searcher I've yet seen, Image Surfer's capacity is still small, but Yahoo promise it will grow in size. Well worth checking out, at:
http://isurf.yahoo.com .

ImageFinder gives you a number of different databases to search for a variety of types of image - e.g.: the Smithsonian Photographic Collection or Colombia University Image and Video Catalog. At:
http://sunsite.berkeley.edu/ImageFinder/ .

"Maritime History on the Internet: A Guide to Doing Maritime History
Research Online" contains a good set of links to a variety of sources.
At:
http://ils.unc.edu/maritime/ships.shtml .

Thomas Register. Yes! it's online and you can search it too! The URL is:
http://www.thomasregister.com/ .

"Russian model ship web pages", at:
http://private.convey.ru/Ships/ , or:
http://www-win.convey.ru/bsn/shipmodels.html .

"Ship Model Mailing List Homepage" is oriented toward Resin models, but
contains a lot of useful information, including that list's Archives,
Hints'n'Tios, etc., as well as detail on subscribing to SMML.
http://smmlonline.com/ .

ModelWarships.com is for Scale Model Warships of all eras and all
scales. Your source for Warship related reviews, both in the box and
full buildup, feature articles, Ship walkaround and Museum photo tours,
Modelers gallery a message board for your questions, and links to other
related sites. at:
http://www.modelwarships.com/index1.html .

"Titanic Research & Modeling Association", at:
http://titanic-model.com/

"Winsite" claims to have a PC program that allows you to make model
drawings from photographs. Available at:
http://www.winsite.com/info/pc/win95/misc/pmlt31a.exe/ .

FAQs (Frequently Asked Questions) On-line
=========================================

THIS FAQ can be found at:
http://www.seaways.com/faq/faqind.html .

"Ship Model Restoration FAQ", at:
http://www.capecod.net/shipmodel/faq.html .

"Metal Web News" (Metal-working stuff, including that FAQ), at:
http://www.metalwebnews.com/ .

The rec.models.scale FAQs are available at:
http://www.ninfinger.org/~sven/models/rms_tips/rmsfaq.1.html .

The rec.woodworking FAQ can be found at:
http://www.cs.rochester.edu/u/roche/wood.html .

The Card Modeling FAQ at:
http://er4www.eng.ohio-state.edu/~browns/card-faq , or at:
http://www.alink.com/personal/sbrown/card-faq/ .

Almost all FAQ's can be accessed via the WWW. The main WWW FAQ
archive site is at:
http://www.faqs.org/faqs/

Lists of Links to Other Sites

=============================

Note: in the interest of brevity, entries duplicated at other sites
have been eliminated from the FAQ. Instead, see also:
http://www.seaways.com/research.html ,
http://www.Naut-Res-Guild.org/museum.html ,
http://www.Naut-Res-Guild.org/sour-mis.html ,
http://www.Naut-Res-Guild.org/sour-mod.html ,
http://pc-78-120.udac.se:8001/www/Nautica/Pointers.html ,
http://pc-78-120.udac.se:8001/WWW/Nautica/Pointers/Miscellaneous.html .

"Welcome to GoSailing - the one-stop site for sailing in the UK", at:
http://www.gosailing.com/

"Direct Search" - "a growing compilation of DIRECT LINKS to the search
interfaces of resources that are not easily searchable from general
search tools such as Alta Vista, Hotbot, and Infoseek. While general
search tools are essential for information retrieval of Internet
materials many users do not realize that large amounts of information
are not searchable via these tools. Comments and suggestions are
welcome." At:
http://gwis2.circ.gwu.edu/~gprice/direct.htm .

Model Boating & Clubs
=====================

"R/C Boating", at:
http://home.earthlink.net/~jpreusse/ .

"R/C Electric Mono & Hydro Racing" page from Germany (but in English):
http://user.aol.com/matthsbo1/index.html .

"UltraHot RC". at:
http://www.ultrahot.com .

Ship Model Dealers and Suppliers

================================

Note: in the interest of brevity, entries duplicated at other sites
have been eliminated from the FAQ. Instead, see also:
http://www.seaways.com/vendors/list.html ,
http://www.seaways.com/research.html ,
http://www.Naut-Res-Guild.org/sour-dis.html ,
http://www.Naut-Res-Guild.org/sour-dlr.html ,
http://www.Naut-Res-Guild.org/sour-kit.html ,
http://www.Naut-Res-Guild.org/sour-pln.html ,
http://www.Naut-Res-Guild.org/sour-tol.html ,
http://www.Naut-Res-Guild.org/sour-pub.html ,
http://www.Naut-Res-Guild.org/sour-mat.html ,
http://pc-78-120.udac.se:8001/www/Nautica/Pointers/Shipmodels.html .

Check out a listing of USCG kit subjects; has ships, boats, and aircraft; period and modern; in and out of production; static and RC. At:
http://www.tiac.net/users/billkaja/kitlist.htm .

Artesania Latina (they're one of the Itallian kit manufacturers) has a web site at:
http://www.artesania.it/
...However, it appears to be only in Italian.

Books and Book Shops
====================

Flags and flag books for sale, at:
http://www.imagesoft.net/flags/flags.html .

Miscellaneous
=============

Note: in the interest of brevity, entries duplicated at other sites
have been eliminated from the FAQ. Instead, see:
http://pc-78-120.udac.se:8001/WWW/Nautica/Pointers/Lighthouses.html,
http://pc-78-120.udac.se:8001/WWW/Nautica/Pointers/Miscellaneous.html,
http://pc-78-120.udac.se:8001/www/Nautica/Pointers/Shipbuilding.html,
http://www.Naut-Res-Guild.org/sour-mis.html.

Sailing Ships
=============

Note: in the interest of brevity, entries duplicated at other sites
have been eliminated from the FAQ. Instead, see also:
http://pc-78-120.udac.se:8001/WWW/Nautica/Pointers/Ships.html,
http://pc-78-120.udac.se:8001/WWW/Nautica/ships/Ships.html,
http://www.Naut-Res-Guild.org/museum.html ,
http://www.Naut-Res-Guild.org/sour-mis.html .

"Down to the Sea in Ships"; the history of fishing schooners from
New England is at:
http://www.downtosea.com/ .

"Steam" Ships
=============

Note: in the interest of brevity, entries duplicated at other sites
have been eliminated from the FAQ. Instead, see also:
http://www.Naut-Res-Guild.org/museum.html ,
http://www.Naut-Res-Guild.org/sour-kit.html ,
http://www.Naut-Res-Guild.org/sour-mis.html ,
http://pc-78-120.udac.se:8001/WWW/Nautica/ships/Ships.html .

On the west coast, "JEREMIAH O'BRIEN" can be found at:
http://www.cr.nps.gov/maritime/park/jeremiah.htm ,
..."Jeremiah O'Brien" can be found at:
http://pc-78-120.udac.se:8001/www/nautica/Ships/JOBrien.html .

Maritime Museums and Research Projects (including Nautical Archaeology)

=======================================================================

Note: in the interest of brevity, entries duplicated at other sites
have been eliminated from the FAQ. Instead, see also:
http://pc-78-120.udac.se:8001/www/Nautica/Pointers/Miscellaneous.html ,
http://pc-78-120.udac.se:8001/WWW/Nautica/Pointers/Museums.html ,
http://pc-78-120.udac.se:8001/WWW/Nautica/Pointers/Ships.html ,
http://pc-78-120.udac.se:8001/WWW/Nautica/Pointers/Lighthouses.html ,
http://pc-78-120.udac.se:8001/WWW/Nautica/Pointers/Maritime_History.html ,
http://pc-78-120.udac.se:8001/WWW/Nautica/Pointers/Nautical_Archaeology.html ,
http://www.seaways.com/research.html ,
http://www.Naut-Res-Guild.org/museum.html ,
http://www.Naut-Res-Guild.org/archlink.html ,
http://www.Naut-Res-Guild.org/sour-mis.html .

"Historical Diving Society"; at: (mailto:HDS...@AOL.COM)
http://diveweb.com/hds/index.shtml .

"Marine Art Information Center" (American Society of Marine Artists), at:
http://www.marineart.com/ .

"Viking Voyage 1000" (Hodding Carter and eleven others sail from Greenland to Newfoundland in a replica Viking ship):
http://www.viking1000.com/
Here are a bunch of other Viking Ship sites:
Agnete (Replica of the Gedesby Ship, Denmark):
http://www.natmus.min.dk/natmus/mabrev/Newslet5/1gedesby.html
The Blue Dragon Viking Long Boat (Diesel powered, leather upholstered,
mahogany decked and for charter!):
http://www.balticsong.com/dragon.htm
The Viking Ship Replica Krampmacken (Gotland, Sweden):
http://gotland.luma.com/Krampm.html

Some other Viking pages:
The World of the Vikings ("The definitive guide to Viking resources on
the Internet"):
http://www.pastforward.co.uk/vikings/index.html
The Viking Home Page (Sweden):
http://www.control.chalmers.se/vikings/viking.html

There is a picture of what may be a removable Norman boat head from
the marsh at the Norman Invasion site at Hastings. At:
http://www.cablenet.net/pages/book/corresp/heads2.htm .

Research Ships
==============

Note: in the interest of brevity, entries duplicated at other sites
have been eliminated from the FAQ. Instead, see:
http://pc-78-120.udac.se:8001/WWW/Nautica/Pointers/Research-ships.html .

"Research Ships Database and Schedules" - Info on Ships and Future
Sailings; at:
http://oceanic.cms.udel.edu/ships/ .

Government / Military
=====================

Note: in the interest of brevity, entries duplicated at other sites
have been eliminated from the FAQ. Instead, see also:
http://pc-78-120.udac.se:8001/WWW/Nautica/Pointers/Navy.html ,
http://pc-78-120.udac.se:8001/www/Nautica/Pointers/Shipping.html ,
http://www.seaways.com/research.html ,
http://www.Naut-Res-Guild.org/sour-mis.html ,
http://www.Naut-Res-Guild.org/sour-nav.html ,
http://www.Naut-Res-Guild.org/sour-pln.html .

"The Battleship Museums", at:
http://members.xoom.com/Wespe/ .

"Approved Vessel Database" (U.S. Coast Guard) - This database "is
organized by Captain of the Port (COTP) zones and will display all
vessels that are approved to enter a specific zone"; at:
http://www.uscg.mil/vrp/database.htm .

"National Marine Fisheries Service (NMFS)", at:
http://www.nmfs.gov/ .

"Naval Vessel Register" (U.S Navy) - Official Inventory of U.S. Naval
Ships and Service Craft; at:
http://www.nvr.navy.mil/quick/INDEX.HTM .
...while decommissioned ships of the USN can be found at:
http://www.chinfo.navy.mil/navpalib/ships/lists/decoms.html .

"U.S. Naval Sea Cadets Corps", at:
http://www.seacadets.org/ .

National Archives and Records Administration. The navy has a web site
that has a large (>160) collection of images on line. Earliest are
paintings or drawings, but there are photos from surprisingly early.
All ships are pre-WWII. At:
http://www.nara.gov/publications/sl/navyships/sailing.html .

"Documents in Military History" includes a whole section on 'NAVAL WARFARE'; at:
http://www.hillsdale.edu/dept/History/Documents/War/

John O. Kopf

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Sep 22, 2001, 7:12:16 AM9/22/01

Archive-name: ship-models-faq/part24
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Last-modified: 22 June 2001

This is the Frequently Asked Questions FAQ (part 24) on ship modeling.

If you have acess to a browser (e.g., Netscape, Explorer, etc), you can
find a version of this FAQ (with illustrations) at:
http://www.seaways.com/faq/faqind.html .

Obligatory Disclaimer: The information contained in this message was

The questions being addressed are listed in part 01 of the FAQ.

###############################################

103. What are some good books... ?

A: What you will consider a "good book" depends GREATLY upon the
period and style of modeling you do -- a book on plastic
submarines will prove of little use if you are researching
ships of ancient Egypt.

Instead, the following list(s) are by general topic. Prices,
where shown, indicate the book is currently in print. these
are the LIST price; such books are frequently available for
much less in "remainder" book sales or as used books.

RECOMMENDED BOOKS
-----------------

"The Neophite Shipmodeller's Jackstay", George F. Campbell; Softbound,
62 pages
Probably the best basic introduction to wooden shipmodeling.

"Ship Modeler's Shop Notes", Nautical Research Guild; Softbound, 216
pages, ($19.95)
Practical book for all ship modelers; a compilation of shipmodeling
articles from the Nautical Research Journal.

SHIPMODELING TECHNIQUES
-----------------------

"The Ship Model Builder's Assistant", Charles G. Davis; Softbound, 288
pages ($6.95)
Detailed descriptions and drawings of masts, rigging, and major
fittings of American clippers and packets.

"the Built-Up Ship Model", Charles G. Davis; Softbound, 256 pages
($6.95)
A detailed guide to building a ship model, in this case the brig
Lexington (American, 1775).

"Plank-on Frame Models", Harold A Underhill, Brown, Son, and Ferguson,
1960.
Two volume set detailing the building and rigging of the Brigantine
Leon.

"Modeling the Brig Irene", E. W. Petrejus, N. V. Uitgeversmasschappi
"Ed Esch", Holland, 1970.

"Boat Modeling the Easy Way A Scratch Builder's Guide", Harold H.
"Dynamite" Payson; Paperback, 195 pages, illustrations, photographs,
8 1/2 x 11 ($19.95) ISBN 0-87742-320-2

"Boat Modeling with Dynamite Payson - A Step-by-step Guide to Building
Models of Small Craft", Harold H. "Dynamite" Payson; Paperback, 182
pages, 280 illustrations, 8 1/2 x 11, ($19.95)

"Ship Modeling from Scratch - Tips and Techniques for Building Without
Kits", Edwin B. Leaf, Paperback, 184 pages, drawings, 7 3/8 x 9 1/8
($17.95) ISBN 0-87742-389-X

"Building Plank-on-Frame Ship Models", Ron McCarthy; 8vo, 192 pages,
illustrated, Conway Maritime Press, London, 1994 ($34.95)

"Shipbuilding in Miniature", by Donald McNarry, New York, Arco 1983
ISBN 0-668-05800-5

"Ships in Miniature", by Lloyd McCaffery, Cedarsburg, WI, Phoenix
Publications 1988 ISBN 0-9615021-3-4

"Building Warship Models", P. C. Coker, 313 pages, illustrated, R. L.
Briant Company, Columbia, South Carolina, 1974; ISBN 0-914432-01-X.

PERIOD SHIP RESEARCH
--------------------

"Navy Board Ship Models, 1650-1750", John Franklin; Hardbound, 192
pages, 150 photos, 16 color plates($36.95)
Survey of dockyard models, their construction and function.

"Shipcarver's Handbook", Jay S. Hanna, Hardcover, 108 pages, 7 1/8 x
10 (17.95) ISBN 0-937822-14-0
Design and lettering, set-up and carving techniques, woods, tool
sharpening, finishing and gold leafing (full-size modern practice).

"Ashley Book of Knots", Clifford W. Ashley, Hardcover, 610 pages, 8 3/4
x 11 1/4 ($50.00) ISBN 0-385-04025-4
Standard reference work on knots, splicing, etc.

RIGGING ETC.

"The Rigging of Ships in the Days of the Spritesail Topmast, 1600-1720",
R. C. Anderson, Conway Maritime Press, England, 1984.

"The Arming and Fitting of English Ships of War 1600-1815", Brian Lavery,
Conway Maritime Press, England, 1987.

Masting and Rigging of English Ships of War 1625-1860", James Lees,
Conway Maritime Press, England, 1984.

"The Construction and Fitting of the English Man-of-War 1650-1850",
Peter Goodwin, Conway Maritime Press, England, 1987.

Masting and Rigging the Clipper Ship and Ocean Carrier", Harold A.
Underhill, Brown, Son, and Ferguson, Scotland, 1946.

"The Americal Fishing Schooners 1825-1935", Howard I. Chapelle, W. W.
Norton & Company, New York, 1973.
Covers all aspects of the "Gloucester" fishing schooners and their
fittings.

SPECIFIC SHIP AND SHIP-TYPE RESEARCH
------------------------------------

"Old Ironsides - The Rise, Decline and Resurrection of the USS
Constitution", Thomas C. Gillmer, Hardcover, 239 pages, photographs,
7 1/2 x 9 1/2 ($24.95) ISBN 0-87742-346-6

"Die Kieler Hansekogge, der Nachbau eines historischen Segelschiffes
von 1380", Baykowski, U., RKE-Verlag, Kiel 1991

"The Anatomy of Nelson's Ships", C. Nepean Longridge, Model & Allied
Publications, England, 1955.
Primarily concerned with building a model of H.M.S. Victory, but
lots of useful information on Napoleonic War practices.

"Conway's History of the Ship, The Age of the Galley", originally
published by Brassey's (UK) ltd. 1995. Published in the US/Canada by
the Naval Institute Press, 1995. ISBN 1-55750-024-X.
There are some good articles, with enough reconstructed detail to
use as a basis for modeling bronze age-sixteenth century galleys
(mostly warships).

The Anatomy of the Ship series of books. Each volume covers a specific
vessel (list $32.95 each)
The Aircraft Carrier "Intrepid"
The Aircraft Carrier "Victorious"
The Type VII U-Boat
The Liner "Queen Mary"
The 20-Gun Ship "Blandford"
The Battlecruiser "Hood"
The Flower Class Corvette "Agassiz"
The Submarine "Alliance"
The Cruiser "Bartolomeo Colleoni"
The "Susan Constant", 1607
The Battleship "Yamato"
The Armed Transport "Bounty"
The Royal Yacht "Caroline", 1749
The Bomb Vessel "Granado", 1742
The Destroyer "Campbeltown"
The Type XXI U-Boat
The Ships of Christopher Columbus
The Escort Carrier "Gambier Bay"
The Battleship "Dreadnought"
The 74-Gun Ship "Bellona"
The Frigate "Diana"
The 100-Gun Ship "Victory"
The 32-Gun Frigate "Essex"
The Battleship "Warspite"
The Cruiser "Belfast"
The Fairmile "D" Motor Torpedo Boat
The Destroyer Escort "England"
The Destroyer "The Sullivans"
The 24-Gun Frigate "Pandora" 1779
The Four Masted Barque "Lawhill"
HMS "Beagle" Survey Ship Extraordinary, 1820-1870
The Heavy Cruiser "Takao"
The Schooner "Bertha L Downs"
Captain Cook's "Endeavour"
The Cutter "Alert" 1777
The Battleship "Fuso"

Good reference for old surviving ships:

"International Register of Historic Ships", Norman J. Brouwer, Naval
Institute Press (Orig. Anthony Nelson, Ltd., 1985); ISBN 0-87021-306-7
This is a fascinating read for those of us who like this stuff.
All the vessels we've talked about here are described, as well as
semiintact clipper ships in Argentina and an 1868 monitor, guns in
place, used as a graffiti-covered breakwater in Melbourne.
(Phil Gustafson)

The following reviews are from John Berg:

The 20-Gun Ship Blandford by Peter Goodwin. Naval Institute Press,
Annapolis, 1988. Hardback, 119 pages, 9.5 inches high by 10.5. $36.95.
Drawings, plans, model photos. ISBN 0-87021-058-0.
Provides superb graphics. The Blandford, while not quite the
size of the HMS Surprise, a 5th rate like the Surprise and
gives the detailed drawings of the ship's hull, deck
arrangement, and rigging. Invaluable to modelers, too.

The Bomb Vessel Granado 1742 by Peter Goodwin. Naval Institute Press,
Annapolis, 1989. Hardback, 125 pages, 9.5 inches high by 10.5. $36.95.
Many drawings, plans, model photos. ISBN 0-87021-178-1.
Useful to both the scratch-build modeler and the reader of
Forester who wants to know more about the bomb vessel.
Provides insights about Jack Aubrey's first command, the Sophie,
since the Granado is also a 14 gun, brig-sloop with a
quarterdeck and stern windows. [See also page 6, col. c.]

Captain Cook's Endeavour by Karl Heinz Marquardt, Anatomy of the Ship
Series, 138 pages, hardback, 224 illustrations, $36.95.
The Endeavour, made eternally famous by Captain Cook's first
voyage on her in 1768-71, was chosen by Cook because of her
strong construction. The author describes her build and rig
based on information found in the Endeavour's journals, a mine
of previously unused, primary-source information.

The Armed Transport Bounty by John Mckay, USNI, 1989, 120 pages, many
photos, drawings, plans, and detailed sketches, $36.95.
A member of the Anatomy of the Ship series with the usual
superb graphics. Thanks to a reproduction built in Australia,
the book has many photos as well. Patrick O'Brian uses the
Anatomy of the Ship books and models to visualize action
about ships.

The Schooner Bertha L. Downs by Basil Greenhill and Sam Manning, 1995,
hardback, 128 pages, 250 Illustrations. 9.5 by 10.25 inches. The
Anatomy of the Ship Series, Naval Institute Press, ISBN 1-55750-790-2,
$36.95.
The North American schooner Bertha L. Downs was one of the many
large four-, five-, and six-masted schooners built on the banks
of the Kennebeck River at the end of the nineteenth and the
beginning of the twentieth centuries. These huge wooden
vessels were almost universally employed in the coastal trade,
chiefly taking coal from Virginia to New England. Contains
superb drawings and much new material about the life of the
vessel.
Bertha L. Downs was launched in 1908 and after ten years in
the lumber and coal trade was sold to Danish owners, renamed
the Atlas, and like a number of her contemporaries made a
profitable living through the 1920s and 30s. She was finally
broken up in 1950 in Germany having spent forty-two years
working under five flags.

Close cousins to the Anatomy of a Ship series is the Conway Ship Types
series. Excellent large graphics and superb research

The Bomb Vessel, Shore Bombardment Ships of the Age of Sail by Chris
Ware, 1995, hardback, 128 pages, 100 illustrations, 10.75 by 10.75
inches. Conway Ship Type Series, $38.95.
In the Horatio Hornblower stories, the bomb vessel represented
a specialization of the warship into a floating siege engine
carrying huge shell-firing mortars for the purpose of
bombarding stationary targets.

The Heavy Frigate, Eighteen-pounder Frigates: Volume 1, 1778- 1800 by
Robert Gardiner, 1995, hardback, 128 pages, 80 illustrations, 10.75 by
10.75 inches. Conway Ship Type Series, $38.95.
The first of two volumes specifically devoted to the large
single-decked cruising ships armed with 18-pounder guns. First
introduce during the American Revolution, the frigates grew
rapidly in size, number, importance and becoming the typical
frigate of the Nelson era that we read about Patrick O'Brian's
Aubrey Maturin series.

[Not in the format of the Anatomy series but a superb reference on the
Victory and written specifically for the modeler of HMS Victory: large
foldout drawings.]

ANATOMY OF NELSON'S SHIPS by C. Nepean Longridge, 1956, hardback, 283
pages, 7.5 by 9.75 inches. Naval Institute Press, ISBN 0-87021-077-7,
$39.95.
A truly splendid reference. By creating this book for the
serious model builder of the HMS Victory, Longridge packed an
immense amount of detail about Nelsonian ships in general and
the Victory in particular. A Patrick O'Brian fan will "see"
more clearly the action described after reviewing the hundreds
of illustrations, the scores of clear photographs, and the
detailed plans, many which foldout to the size of 4 and 6 pages
in area, in this book. What is a truck, why catharpings,
where's the kevel, how the channels are supported, what's the
location of the spirketting, and the purpose of the limber
passage.
One photograph shows the wardroom as a bright, attractive room
with officer cabins on either side. Another photograph of the
ship's entry port reminded me of the entry way into aircraft
carriers which have gangways leading into the side rather than
to the weather deck. It made clearer the image of the many at
anchor receptions described by O'Brian and Forester. One
incongruous photograph shows WWII damage suffered by the
Victory from a German aircraft bomb. For the modeler,
everything is included in this one book, hull, standing
rigging, running rigging, modeling tips, and construction of
special tools and jigs. The immense index contains over 1200
entries.

The following is from Clayton A. Feldman, MD:

A Personal Research Library:
============================
Anglo-American Sailing Vessels of the Eighteenth Century (With
Commentary)

The problem confronting beginning and intermediate ship modelers is
quite straight forward: For both, the major pitfall is error
compounding error. Increasing awareness of this negative process tends
to be followed by frustration, wheel-spinning attempts at ongoing
correction and finally exasperation and dropping-out. The problem often
results from the limited availability of readily accessible guidance.
This in turn leads to poor choice of subjects for modeling and rather
random, undirected library building. Without at least a purpose-built
library (and better yet, some form of mentoring in addition), failure
to understand the limits of one's personal knowledge rapidly puts the
modeler into the unfortunate state described above, precluding accurate
and effective work. What then can be done to prevent such talent-wasting
scenarios from developing?
If one could control the entry point into ship modeling for the
beginner, the job would be relatively easy. One would select a simple,
quality kit -- a sloop or schooner from a quality manufacturer and one
book, probably George Campbell's "A Neophyte Ship Modeler's Jackstay",
as the starting package.
This would permit the beginner to get the look and feel of the hobby
with a bit of guidance and see if it appealed to him. If it did, he
would then be encouraged to purchase a bit more advanced kit, together
with a small library consisting of (in this author's opinion) one book
and two articles. The book is the Merritt Edson- edited "Ship Modeler's
Shop Notes"; in it are excellent chapters on research and ship
selection for modeling as well as innumerable articles on construction,
tools and processes.
The two recommended articles are Charles O. McDonald's "Books as a
Key to Modeling Success" (Nautical Research Journal, Vol.31, No.1, pp
17-36) and Peter Sorlien's article "Before the Chips Fly, A Few
Thoughts to Guide the New Ship Modeler" (Scale Woodcraft, No.6, 1986,
pp 23-29). The first article is a master book collector's personal
guide to library building for ship modeling and nautical research. It
philosophically suggests that the library builder is well-served by
sticking to one general era and not many different types of vessels and
by rather ruthlessly limiting his library to that era and type. The
second article is a general introduction and guide to the selection of
kits, the understanding of the basic research process and the general
philosophy of proper ship modeling.
This second ship modeling project and its associated library expansion
would start the process of converting the hobbyist into a sort of
scholar craftsman. From here on, or perhaps after a couple of more kit
models, it would be all library building and scratch modeling or
serious kit bashing, with the personal library being the primary source
for the basic research.
It should be noted that the library suggestions above and those to
follow form a basic library only for mid-late eighteenth century small
and medium-sized Anglo-American vessels, the author's personal area of
interest. Other times and places require different libraries and a bit
of research before beginning book purchases. One must also realize that
much of the information for these smaller vessels is interpreted and
derived from the primary source material for larger vessels, thereby
expanding the library somewhat beyond that which seems 'ruthlessly'
related to the small vessels themselves. In any event, here we go:

First: The Ruthless TWO BOOK Library:
1. Chapelle, Howard I., The Search for Speed Under Sail,
W.W. Norton Co. Inc., New York, 1983.
2. Petrejus, E.W., Building the Brig-of-War Irene. "De Esch",
Holland, 1970.

Outrageous, you say? Not at all. At least half of all the interesting
smaller American vessels of the era are found well-drawn and described
in this particular Chapelle work. They are interesting because they
were fast and therefore were used in interesting applications, mostly
as privateers and smugglers. Although Chapelle's text is almost totally
undocumented, for which he has come under revisionist historian attack
recently, he is extremely detailed, generally authoritative, a
marvelous draftsman and a most adequate source of information gathering-
type basic research. Serious research, however, can never end with
Chapelle.
The Petrejus book is practically a single volume encyclopedia. It
contains historical research, magnificent engravings and prints,
contemporary (always remember, in academic historical parlance,
contemporary means at the time of the historical period under study,
not modern times (e.g., then, not now) construction techniques, rigging
and fitting data, spar tables and very detailed modeling techniques all
in one. Applied specifically to the modeling of a Dutch revision of an
early nineteenth century English brig, it applies quite generally to
our era and type and is a very good source for further library research.

And Then: The Compleat (almost) Two Foot Library:
A fairly complete plans source, historical database, and modern and
contemporary practices reference library can be had by the addition of
another fifteen books to those previously described. Carefully placed
notes about the house prior to birthdays and holidays can greatly
assist in the speed of acquisition. The books are:

1. Steel, David, Elements of Mastmaking, Sailmaking and Rigging
(1794), Sweetman Reprint, Largo, Fla.,1983.
2. Lever, D'arcy, The Young Sea Officer's Sheet Anchor. (1819),
Sweetman Reprint, New York, 1963.
3. Steel, David, The Elements and Practice of Naval
Architecture, 1805. Sim Comfort Reprint, London, 1977.
4. Chapman, F.H., Architectura Navalis Mercatoria, 1768,
Sweetman Reprint, New York, 1967.
5. Gill, Claude S. (editor), The Old Wooden Walls: Their
Construction, Equipment, etc. Being an abridged edition of
FALCONER'S Celebrated Marine Dictionary. W&G Foyle, Ltd.,
London, 1930.
6. Millar, John F., Early American Ships. Thirteen Colonies=20
Press, Williamsburg, Va., 1986.
7. Chapelle, Howard I., The History of the American Sailing=20
Navy, W.W. Norton Co. Inc., New York, 1949.
8. Chapelle, Howard I., The History of American Sailing Ships,
W.W. Norton Co. Inc., New York, 1935.
9. MacGregor, David R., Fast Sailing Ships, Naval Institute=20
Press, Annapolis, 1988.
10. MacGregor, David R., Merchant Sailing Ships, 1775-1815,=20
Argus Books, Ltd., Watford, Herts, England, 1980.
11. Lees, James, The Masting and Rigging of English Ships of=20
War, 1625-1860, Naval Institute Press, Annapolis, 1984.
12. Goodwin, Peter, The English Man of War, 1650-1850, Naval=20
Institute Press, Annapolis, 1987.
13. Lavery, Brian, The Arming and Fitting of English Ships of=20
War, 1600-1815, Naval Institute Press, Annapolis, 1987.
14. Harland, John and Meyers, Mark, Seamanship in the Age of=20
Sail, Naval Institute Press, Annapolis, 1985.
15. Howard, Dr. Frank, Sailing Ships of War, 1400-1860, Mayflower
Books, New York, 1979.

Most of these books are still in print or in re-print editions. The
Gill Falconer, or one of the other Falconer reprints, will have to be
sought out in a nautical used book store. Lacking rich and generous
relatives, one may have to find a library for accessing Steel's Naval
Architecture.
With these volumes added to our historical research and plans sources,
we complete the basic documentation of American naval and private
vessels. The two additional books from Chapelle contain extensive
historical and naval architectural data and scores of the best drafts
of American vessels ever drawn. The Chapman book is the single most
valuable collection of contemporary plans, unfortunately few of which
could be considered American. They are, however, essentially generic
types, divided by nautical design and use, by (European) nation of
origin and by size. Chapman also has very nice sail plan drawings.
A very enjoyable American vessels scrapbook, the Millar book has
over two hundred copied and/or reconstructed drawings of colonial and
Revolutionary era American vessels available for perusal, together with
brief historical summaries of the lives of the vessels. It is often a
good place to begin one's search for a choice of modeling projects. The
two MacGregor contributions are the scholarly delineation of the
English side of our era's smaller vessels as the Chapelle works are for
the American side. To these books must be added the basic primary
contemporary sources on rigging and spar-making (Steel and Lever), the
general mini-encyclopedia of eighteenth century naval architecture
(Falconer), and the not-to-be-done-without (but very expensive) Steel's
Naval Architecture, the only primary source available for actual
dimensions and scantlings (the size of the smaller timbers) for the
smaller vessels. This latter listing is actually a pair of books, the
reference book itself and a magnificent over-size folio of large scale
engravings of interesting ships of the era.
The modern standard compendium of masting and rigging is Lee's book,
that for construction is Goodwin's and for fittings, Lavery. The
Harland-Meyers book provides a great many otherwise missing details by
both describing and sketching a great many processes showing how the
ship and its equipment were actually used. Frank Howard provides a
general overview of the era in a very good book ("Sailing Ships of
War"), which misses being a great book only by lacking an index.
New books for the research library are appearing at a rapid rate, and
the would-be library builder must often decide within a fairly short
span of time whether or not to buy, as single edition production runs
are common. In the past few years alone, we have seen Brian Lavery's
two books on the ships of the line, a whole slew of Conway Publishing
volumes in the Anatomy of the Ship series, the magnificent Jean
Boudriot series on a wide variety of French vessels of this era,
Franklin's book on Navy Board models, and a modest number of reprints
of eighteenth and early nineteenth century reference books -- Steel,
Falconer, Sutherland, Fincham and others, if you want names to look
for. Most of these books are available from the book shops and mail
order hobby suppliers who advertise in "Seaways' Ships in Scale".
Although these suggestions are mainly for a reference library, one
would be remiss in not mentioning at least a few books that deal
largely with model construction techniques. Of course much valuable
construction information is available in the Edson and Petrejus volumes
mentioned above. "Ship Modeler's Shop Notes" is useful for models of
all types, with information on built-up lift models as well as plank-on-
frame. It also is crammed with time-proven techniques for block and
spar making, casting metal fittings, making rope, painting, coppering
and just about everything else the modeler needs to know. Modeling the
Brig of War Irene is similarly useful and broad-based. The hull
technique described is the lift method of solid hull building, but the
fitting, finishing, spar making, etc. techniques are universal in
application and the details are especially useful for smaller-than-ship-
of-the-line vessels.
For plank-on-frame modelers there are two additional recommendations,
the old favorite "The Built-Up Ship Model" by Charles Davis and the
very well received fairly recent work of Harold Hahn, The Colonial
Schooner. The former is fifty years old, written in a charming style,
and full of very useful construction and research data hints the size
of gunports, the height of sills, the weight of anchors, etc. It is
also full of anachronisms and is itself based on an error of
identification, Davis having substituted an English brig of the turn of
the century for the American Revolutionary War converted merchant brig
"Lexington". The hull construction techniques are universal and very
easy to understand and the drawings are wonderful.
Hahn's work has turned his slightly simplified style of P-O-F building,
admittedly a model maker's convention rather than an exact reproduction
of contemporary practice, into the middle-of-the-road standard. Widely
used by modelers, this technique, using several jigs for building the
frames and a unique fixture for holding the frames upside down in place
during construction, provides for excellent continuity of form and
alignment of frames as the hull is built.

I picked up a new paperback (magazine size) book last week called:

"The Painters Guide to World War Two Naval Camouflage",

by Patrick Hreachmack. It is published by Clash of Arms Publishers, so
as you might guess it is for 1/2400, 1/1200, up to 1/700 ships. While
not a substitute for the Floating Drydock books, it covers, the US,
British and Commonwealth, German, Italian, Japanese, Dutch, Polish,
and Russian Navies. It gives a description of the colors with matches
to Floquil, Humbrol, and MM paint lines. Notes on deck colors, aircraft
colors, and other tidbits are covered. As an example, Japanese ships
colors depended on the shipyard where they were built or repaired.
There are of course a lot of side views of camouflage schemes. On the
down side, since it is written for war gamers it covers lots of schemes
for ships not produced in plastic (3 pages of Tribal class destroyers)
and omits popular plastic ships (Rodney, P of W,....). It also notes
FAA a/c as gray on top, which in that scale I guess XDSG and Slate gray
would look like ...gray. OTOH, the last 4 pages contain an extensive
list of references. At, $18.95 it isn't cheap, but it a good starter
book. (Bob Sigman)

The late Dana L. McCalip said:
I have been following the thread on the "beginner" and what is needed
to help him or her in the development of their ship model building
hobby.
As far as I am concerned the answer is patience, perseverance and
having access to a well-rounded library. This latter point on the
library is of paramount importance and something that cannot be taken
too lightly. I can speak from experience on this as I have been in the
ship modeling game as a hobby and semi-professionally for the past
forty years. You cannot expect to build high quality models unless you
know how to check and verify accuracy and authenticity and to do that
you must have a hard copy database from which to operate. The Internet
and e-mail list may in the future fill the void if ship lore and naval
construction books were abandoned; but it cannot do it now nor in the
near future.
Considering this I have recommended a list of ten basic books for
beginners new to the ship modeling hobby. Naturally, this list is
purely subjective and will possibly not have the complete support of
other experienced ship modeling list members. It is however based on
past experience and is part of my current library that consists of
over three hundred volumes on the subject.
Here they are. I have tried to rank them in order of importance to
the beginner:
* Campbell, George F. - The Neophyte Ship Models Jackstay
* Mondfeld, Wolfram zu - Historic Ship Models
* Nautical Research Guild - Ship Modeler's Shop Notes Manual
* Petrejus, E. W. - Irene
* Lees, James - The Masting and Rigging of English Ships of War
1625-1860
* Underhill, Harold - Sailing Ship Rigs and Rigging
* Underhill, Harold - Masting and Rigging the Clippership and Ocean
Carrier
* Davis, Charles G. - Ship Model Builder's Assistant
* Hahn, Harold - Colonial Ship Models
* Davis, Charles G. - The Built Up Ship Model
All of these books are in print and when examined collectively would
provide an excellent foundation for any ship modeling/maritime library.
The first two books listed could almost stand by themselves temporarily
while one gets their feet on the ground. (Dana McCalip)

***There are several book out there to choose from.

THE ART OF RIGGING by George Biddlecombe
THE NEOPHYTE MODELERS JACKSTAY by Model Shipways
THE LORE OF SHIPS by Nordbok
SHIPMODELING FROM STEM TO STERN by Milton Roth
SHIP MODELING TECHNIQUES by Portia Takajian
PLANK OF FRAME MODELS AND SCALE MASTING @ RIGGING by Harold Underhill
SHIP MODELS FROM KITS by Colin Riches
SHIP MODLERS SHOP NOTES by Nautical Research Guild
HISTORIC SHIP MODELS by Monfield
AMERICAN SAILING SHIP CRAFT by Howard I. Chapelle
THE SEARCH FOR SPEED UNDER SAIL 1700-1855 Howard I. Chapelle
THE AMERICAN SAILING SCHOONERS 1823-1935 by Howard I. Chapelle
THE HISTORY OF SAILING SHIPS vols 1@2 by Howard I. Chapelle
THE HISTORY OF THE SAILING NAVY by Howard I. Chapelle
This is just a few of them. There are many more to choose from
depending upon what era you wish to choose from {David dgbot)

***I must agree with others, this depends what ship model you are
building. In my rather small collection I have:

Ship Modellers Ship Notes
American Sailing ships
Historic Ship Models
The Anatomy of Nelsons Ships
The Anatomy of 100 Gun Ship, Victory
The Cutty Sark
Sailing Ships Rig and Rigging
Ships in Scale magazine
Model Boat Magazine UK
Knots,
plus others regarding ships, history etc.

The first three fit any type of ship being built. a good idea is start at your local libary and have a look if you can before the $$$ are handed over. (Wendy Thompson}

***The books you'll want to own are a very personal matter. As
list members have been correctly saying, the titles you
purchase should be determined by what you want to do with
your modeling. A book that's "perfect" for one model builder
may be "a waste of money" for another. Nevertheless, a few
of the inexpensive general-purpose books are well worth the
money.

One of the best buys these days is Monfeld's "Historic Ship
Models." That, at least, is my opinion. It's true, the
book's full of inaccuracies and much of it has actually been
lifted ("stolen"?) from other sources, but the pictures and
diagrams it contains make it well worth the $20 or so that
it sells for. Thumbing through its pages will give you a
good idea of what our kind of model building is all about.
There are, of course, other titles that fall into this
introductory category. They've been mentioned by others.

Some books that are "musts" for every model builder's
library are a poor investment during the early stages of
your model building career. In this category I'd include
titles such as James Lees' "The Masting and Rigging of
English Ships of War." When I bought my copy a few years
ago, it was too esoteric (and expensive!) to be valuable to
me. Over the years, however, it's become one of my most
valuable books. The importance of a book, Julio, will change
with your modeling experience!

Books that have been favorites of mine right from the
start -- and continue to be volumes that I return to with
pleasure over and over -- are Harold Underhill's
"Plank-on-Frame Models and Scale Masting & Rigging," volumes
I&II. Reading Underhill is like visiting an experienced
model building friend who's explaining how he did what he
did. He clarifies his explanations with superb sketches (and
lousy photographs!). I don't know how many times I've
read -- and reread -- his various chapters. Nevertheless,
Underhill's volumes have their shortcomings, too. For
example, his chapter on building clinker-built models and
little ships boats probably scares people away from a
process that's not at all difficult.

And, finally, remember that a book that's important to you
may be almost useless to another modelbuilder. Example: For
me, Eric McKee's "Working Boats of Britain, Their Shape and
Purpose" remains a gold mine of information for my kind of
model building. Nevertheless, it's hardly a volume I'd
recommend to others -- unless they share my interests.

Over the years, I've bought almost all of my out-of-print
books from Dave Roach at Pier Books in New York. He's always
quoted me fair prices, accurately described what he had to
offer, and packed the books carefully for shipment to me in
Germany. All in all, in terms of my experience, a
first-class operation. I've found it wise to allow my book
seller to know my tastes and interests. Dave, for example,
will ask me if I'm interested in a particular volume that
has come into his hands. That's a nice service!

Finally, I'd suggest that you mention a book that interests
you (one at a time) on this list. Ask what others think of
it. You'll be pleased with the response you get -- and find
the information most helpful. That's what I do. Works great.
(Doc Klein)

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