A rather tedious, laborious and long process is the finishing of the hull skin. Unlike the deck, it will always be visible, the perception of the model largely depends on its execution. Pits, mounds are unacceptable. All belts must be smooth. Any, even a small break, spoils the impression, so we must strive for perfection!
So how was it for me. At the very beginning, I wanted to make the separation of colors a tree. This is probably the hardest way imaginable...
We put the case on a horizontal surface. I had to raise my nose - I have a trim of about 15 mm. Shtangel-thickness draw the waterline.
Then we break the underwater part into two halves. I took the last belt that did not pass through the waterline. The line is quite complex. I took measurements from the side projection, marked the control points with a gage gauge, then pinned a rail on them with paper clips and outlined them.
Everything is smooth!
We put in place this part, the keel and the sternpost. The keel is just a bar with a margin for processing. Experience shows that during sheathing, he suffers significantly. We make an approximate marking of the skin. There are no "losses", but the board on the midships is 5 mm wide, narrows towards the bow to 2.5-3 mm and widens towards the stern to 6-7 mm. We put the two lower belts.
Last time I steamed all the slats and bent them on an iron. This time I used a hair dryer. It is not necessary to steam, the wood is dry, and the edge does not suffer. We put the belt along the geoline. The filling of the lower part begins.
The main difficulty is that each belt must be cut into the stems. It consists of two rails meeting in the right place (the position is taken from the drawing).
With the last boards in the "section", of course, the difficulties have to be tediously adjusted.
The lower part of the bottom is completed. The lower velvet was installed - a hefty rail 7 mm wide and 3 mm thick. Bending is still happiness, but the hair dryer did it.
Having closed the waterline, we outline it again along the already finished skin. Unnecessary is removed.
Side view. The waterline is horizontal when viewed from the side.
And here the most difficult begins. Color separation. Since I am doing the paneling (I am tearing the joints of the boards), it creates the feeling of one board painted in different colors. The main trick is to go from bottom to top.
The black hornbeam has a lot of advantages. Easily bends, boiling black, with an interesting texture. But the dirt from him ...
It turned out even better than I expected.
I remember, for several days I could not tear myself away from the contemplation of such beauty (gee-gee).
There are fewer belts in the nose, but due to their strong narrowing, there was more torment.
But everything ends sometime.
The boards in the port area did not cause any particular problems.
It is not always convenient to pin / tighten the rail.
The stage ended like this:
Behind a month of work, and nailing the hull loomed ahead ...
FINE COVERING OF THE HULL.
Sheathing the frame of the ship's hull, recruited from the keel and frames, with a sheathing board, entered the practice of shipbuilding in the 14th - 16th centuries.
Prior to this, the construction of the ship began with the formation of a sheathing "shell", into which transverse reinforcing ribs were then squeezed.
The plating of ancient ships had its own characteristics. First, there were the first two, thicker rows of sheathing boards embedded in the keel, which were called sheet piles. This was followed by a thinner plating of the lower part of the vessel from the sheet pile belt to the waterline - the bottom plating. Above the waterline, the plating belts alternated with reinforced belts - velvets.
The longitudinal seams between the side edges of the sheathing boards adjacent to each other are called grooves, and the transverse seams are called joints. Under the influence of temperature and changing forces, the seams can expand or contract, which affects the water resistance of the case. Usually the seams are caulked - they are filled with hemp or other soft material soaked in resin, shooting range or other similar substance, and on top they are poured with resin or a special composition from a mixture of harpius, lard and sulfur. Thanks to this, the seams “play”, but the water resistance of the case is not violated.
On wooden ships, boards of sheet piling belts, belts in the waterline area and frames were made only from oak, the rest of the belts were made from oak, elm, pine, teak, etc.
The size of the original boards used for sheathing varied between 6 - 8 meters and were laid with a certain layout.
Until the end of the 17th century, the width of the boards was chosen between 33 and 45 cm (older - wider), in the 18th century - 28 - 35 cm, and in the 19th century - an average of 30 cm.
The thickness of the boards ranged from 7.5-10 cm at the bottom to 13-15 cm in the velvet layers.
The extreme ends of the chords entered the tongues of the fores and sterns and were fastened with dowels made of galvanized iron or copper. Iron dowels were hammered into the skin, as well as into frames, without pre-drilling holes in the tree, while copper dowels - in pre- drilled holes, from inside they were flattened on washers.
The usual diameter of the dowels was 4-5 cm. The metal nails had a head 1.6 cm in size. The bolts used for fastening the sheathing usually had a head 6 cm in diameter and 0.6 of its diameter high. The washers used with the bolts had a diameter equal to 1.25 head diameters.
To fasten the skin of a small thickness, conical spikes made of oak or acacia were usually used.
At the moment, a very practical and simple plating method has taken root in modeling - double plating. On the one hand, this method requires plating twice, but on the other hand, it is he who helps to complete the plating elegantly and accurately.
The first stage of this process consists in applying a layer of relatively thick (about 2 mm thick) planks, 4-8 mm wide, to the entire prepared frame of the hull model.
After applying the planks to the entire body and pre-sanding them, a wood filler or putty is applied, followed by re-sanding. This process is repeated until all irregularities disappear: scratches and gaps in the joints between the planks, recesses and protrusions on them.
At the second stage, finishing planks are glued onto the hull, which are prepared in advance in accordance with scale dimensions, material is selected that matches the texture of the scaled real one, etc.
Thanks to the carefully calibrated and prepared primary "rough" skin. "Finish" skin after the sticker needs only fine finishing polishing.
After the installation of the skin is completed, the grooves and joints are marked on it, as well as nailing, which gives it a finished and realistic look.
On a model of a two-masted schooner in a scale of 1:115, the role of the primary "rough plating" is performed by a hull blank, originally cut from a wooden block.
We glue the "clean" sheathing from a rail, which we cut from veneer from a "fruit" basket. We cut the rail with a width calculated in accordance with the scale of the model. you can cut a rail of relatively thin veneer with a model knife, under the ruler.
To speed up the process of cutting the rail, you can use a homemade multi-blade knife.
How to make such a knife is shown in detail in the video "Knife for Strips (Modeling Tools)"
By itself, the process of sticking cladding battens of the same width is not much different from sticking deck battens. However, there are a few nuances that you should pay attention to.
First of all, it is necessary to adjust the thickness (protrusion above the surface) of the velvet, which we have already pasted on the body and which will give us the direction of sticking the cladding rails.
It has already been said that the velvet is also a sheathing board, but thicker (by 1.5 - 2 inches). Therefore, applying the sheathing rail next to the velvet, we mark the height of the lath on the latter, we mark the height along the entire length of the velvet exceeding the marks to the thickness of the sheathing rail and remove the excess with sandpaper. We finally grind the velvet.
We glue the sheathing rail from the velvet down (to the keel) and up (to the bulwark). We press the first rail close to the velvet, each subsequent one - to the previously glued one. The slats should be glued either first on one side completely, and then on the second, or by sequentially gluing one slat on each side. This allows you to maintain the symmetry of the arrangement of the cladding rails on the sides.
We glue the rail on cyano-acrylate glue-gel. This is a deviation from the traditional technology - "welding with an iron on PVA glue", but it allows you to avoid the need for preliminary bending of the rails for curved sections of the surface of the case and significantly speeds up the process.
When working with cyanoacrylate gel, do not forget about the rules of work:
- apply glue not to the entire workpiece at once, but in parts, as it is glued;
- after applying the glue, hold the workpiece for 20 seconds, and then press it firmly against the surface to be glued;
- apply not much glue, so that after gluing it does not squeeze out from under the parts to be glued;
- remove excess glue without waiting for it to set.
The specificity of the surface of the ship's hull is that its underwater part (especially closer to the bow) is spherical. The sheathing rail in this place has to be bent in two perpendicular directions - along and across the fibers.
If on a large scale model, using relatively narrow rails, it is quite easy to pass a bend, then on a small scale model, difficulties can arise. In particular, "pockets" can form - part of the lath does not adhere to the surface and does not stick due to the internal stresses of the wood. The use of CC glue makes it quite easy to solve the "pockets" problem.
We cut the rail in the area of \u200b\u200bthe "pocket", we introduce glue under it and glue the resulting valves. To avoid unnecessary overlapping of the valves on each other, we cut their edges as they are glued.
When the glue sets and the former "pocket" is polished, the valve joints will be invisible. If the gap between the valves turned out to be wide, a piece of the same sheathing rail can be glued into it.
Without bringing the skin of the underwater part of the hull 3-4 rows to the keel, we begin to glue the slats from the keel upwards - this will ensure that the sheet pile belt of the slats is parallel to the keel. We fill the resulting spindle-shaped surface area with a rail so that the ends of the rails of the same width fit the stems. At the same time, if necessary, we narrow the rails (forming the so-called "losses") or glue the wedge-shaped elements in the places of expansion of the seams between the sheathing rails.
The ends of the rails should come close to the stem. on the sternpost, let's say the glued rails "go out" over the edge of the post (the excess will be carefully cut off when installing the starpost).
This simple web page is used to visualize your joystick buttons and axes.
Yep, there are only a few widgets, but the layout may still be complex enough.
There is a direct link to the preset shown above:
As it utilizes javascript Gamepad API, it can support up to 4 devices.
It "s highly recommended to use Chrome-based web browser since Firefox doesn't see all possible axes.
important notice. The Joystick Visualizer does not store your personal data, nor uses cookies. All presets you "d made are stored at your web-browser local storage.
The visualizer was (in primary) created for using whilst playing Elite: Dangerous. Of course, it may also be used in other various simulator games. my friend CMDR requested visualizator that is as much flexible as possible to freely support his 2 joysticks with throttle and pedals setup.
This visualizer is good at use as a "Browser" source in OBS application.
I asked CMDR to give me a sight on his experience of using the visualizer with OBS. Here is his comprehensive answer:
Using Joystick Visualizer in OBS.
Step 1. Configure widgets.
- go to a.site/joystick/
- double click anywhere to add widget. You may use buttons, hats, labels and single or double axis widgets.
- configure widgets. Double click on widget, set label(s) and joystick(s) and axis number(s). These numbers you can find using the "Joysticks" menu.
- configure general settings like shadows, colors etc.
- save your settings.
Step 2.OBS.
Well, you will need to experiment a bit with settings to achieve decent results.
Disclaimer: These are mine personal recommendations. They work for me, your mileage may vary.
At first, choose a proper color for your chroma key background. The usual acid green is not always the best option. We'll need a bit of theory here.
The ChromaKey technology works as a dynamic mask determined by the color. This color is filtered out by software during the video processing and all areas of that color are considered transparent.
This works very well with sharp-edged objects, where we have a distinct border between the colors. But if you have any kind of antialiasing, shadows or edge feathering involved, things are more complicated because of the process called "color spill" which is basically a blending of the colors at the edges of an object. To minimize this effect you need to choose the chroma key color which is:
a) opposite to the color of the object
b) not very bright
Some numbers to illustrate this:
Every color is composed from 3 basic color channels - Red, Green and Blue. In 24 bit palette color each color value can be from 0 to 255 (or from 00h to FFh in hexadecimal notation)
#ff7100 - this is the code for orange color of Elite Dangerous. As you can see, it consists of 255 (FFh) Red, 113 (71h) Green and 0 (00h) Blue. Since this orange color does not contain Blue channel at all, a kind of blue chroma key color will be easiest to remove and is the best choice for orange widgets. Also, it should be not too bright, because the dull colors "spill" less. The shade of blue with code #000080 shoud work just fine.
Chroma key color should be set in "Settings" menu of Teall Joystick site. Save your configuration and then use "Export" in the "Save" dialog. You will see the "Direct link" option, copy that link.
Now we need to add this to OBS.
In OBS add new "Browser" source.
Insert the link that you have copied from the website to the "URL" field and set the desired browser window size. I recommend to start with the size of your video frame and than reduce it to the minimal required dimensions later. When you click OK, you should see your widgets in the OBS along with chroma key background. Now we need to remove it.
Right click on browser you have just created and choose "Filters". Click on "+" an add "Chroma Key" fiter.
Set "Key Color Type" to "Custom" and choose chroma key color either by using palette\number fields or color picker.
Now is the time for fine tuning.
Set "Similarity", "Smoothness"and "Key Color Spill Reduction" to minimum.
"Similarity" is how close to the base color you want OBS to remove. Adjusting this slider will allow OBS to remove wider chroma key color variations of the screen. Make sure not to increase this so much that some parts of your widget is being removed too.
Adjust "Similarity" so you can see the widgets clearly with minimal residue of chroma key color. It should be small value in our case since we have very uniform key color.
"Smoothness" works in tandem with "Similarity" in trying to make sure that the filter isn't too harsh. You shouldn't have to move this to a large degree. Use it to hone in on the perfect amount of what's left on the screen.
"Spill Reduction" applies to the edges of what the filter is and isn't removing from the screen. If you"re noticing some key color residue on the edges of your widgets, move this slider to remove it.
Most probably, you will need to disable shadows in the website settings to get better results. This largely depends on the color schemes used though.
Step 3. Final adjustments.
As the last steps, adjust widgets placing (you will need to save new settings and apply new URL to the OBS browser) and OBS browser overlay size. After the overlay size has been roughly set, you may crop the overlay instead of resize by holding "Alt" key while adjusting overlay borders.
Please note that chromakey processing is a tough computational task, so you will need a computer with a decent CPU to avoid lags and framedrops.
As always, Joystick Visualizer is completely free for use and copy. If you like it feel free to donate =)
On sailing ships, two methods of sheathing have long been used.
Overlay upholstery
The most ancient method of sheathing a type-setting body, known in Egypt and Phoenicia since the third millennium BC, is sheathing or clinker sheathing, when one belt of sheathing boards overlaps the edge of the adjacent one and is fastened with nails.
This was how most ships were sheathed until the end of the 15th century.
To this day, clinker sheathing is used on boats and similar small vessels.
Sheathing "smooth"
This type of plating, which is more technologically advanced and has better seaworthiness, completely replaced clinker plating on large ships already in the first half of the 16th century.
On relatively small ships, a single-layer sheathing was used, and on larger ships, a two-layer one, in which the seams of the outer layer were offset relative to the seams of the inner one.
The length of the sheathing boards was 6 - 8 m, the width was up to 10 inches or 25 cm (1 inch = 2.54 cm), and the thickness was up to 6 inches (16.5 cm).
They fastened the sheathing with iron, copper or wooden nails (pins).
Veneer selection
The choice of veneer for plating the hull is probably the most organizationally difficult part of the work - everything will depend on what you managed to get. Therefore, it is quite difficult to recommend anything specific here, and I described the main requirements for veneer at this stage in the first chapter.
There I said that the distinguishing feature Russian school of ship modeling there was a desire to use the natural color of the wood as much as possible, choosing it as close as possible to the painted original. If you want to work in this technique, this must be taken into account when choosing the colors of the veneer.
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How a fragment of the hull of a battleship made using this technique can look like in the photo on the left.
But the hull of the Ingermanland ship, a fragment of which is shown in the photo on the right, is made of plain veneer with colored paper decor and black velvet.
For plating the upper part of the side, which does not have a rounding at the bow, in principle, any veneer of the appropriate color and texture is suitable. One has only to avoid too large a texture pattern - it will look a little ridiculous on the model. And, besides, such wood often has a very large-pore structure, which in the future will not allow achieving a high-quality surface. When choosing veneer by color, keep in mind that after varnishing it darkens significantly. What it will become after that can be checked by wetting its surface. With the lining of the lower part of the side, and, moreover, the underwater surface, everything is somewhat more complicated.
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From my experience, I can say that the most likely to choose the right breed will be among the light varieties of mahogany. Unfortunately, I do not know their exact species names - tropical species have dozens of them, but in our country they are all known under the name "mahogany". The simplest way to determine whether the piece of veneer you have chosen is suitable for this - cut off a strip about 5 mm wide from it and, gently but strongly, pressing with your fingers, try to go around the ribbed cork from Moment with it. At first glance, this may seem incredible, but ideally, a strip of wood of some species can be wrapped around the cork without breaking. The ribs of the cork will slightly break the fibers of the inner surface, making it easier to bend, and its large enough diameter will not allow the strip to break.
If you succeed - consider yourself lucky - such a veneer will fit perfectly. If not - try to take some kind of cork with a similar surface, but a larger diameter, and try to round the veneer on it. If it didn’t work out here either, and there is no other choice of veneer, you will have to soak the veneer strips in hot water, give them the desired shape, dry and only then sheathe. I have not had to successfully resort to this method, so I will not give recommendations based on personal experience. I can only say that the veneer warps after drying, it becomes more difficult to work with them, but on extreme case and such a way out is possible.
We will assume that you have decided on the choice of veneer, have enough of it to be able to afford to ruin a few pieces until you acquire the necessary skill, and are ready to start work.
cutting veneer
A plastic ruler is best for cutting strips. The wooden one is completely unsuitable - after a few inaccurate movements, cut sections and notches will already appear on it. Metal is also not good - here you can accidentally ruin the knife. Perfect option- a ruler made of transparent plexiglass to see what is under it - sometimes it helps a lot in work. If it does not have holes at the ends - drill it - it will come in handy.
It is most convenient to cut on a plywood strip into which three nails are driven. On two of them, the distance between which should be greater than the maximum length of the strips, the ruler rests during cutting, and the third passes through the hole in the ruler and does not allow it to move along the cutting line. It is more convenient to drive it in on the right.
On plywood, you need to make some kind of substrate on which you will cut. It can be linoleum, PVC tiles or just thick, not necessarily thick, cardboard. I use double-glued milk cartons. It's never a pity to throw out the cut and make a new one. Fortunately, the material is always at hand. The substrate does not need to be fixed on plywood, it is better that it could be moved and the cut would pass through a new place.
You should not try to cut the veneer simply by pressing the ruler with your hand, as when drawing. The knife tries so persistently not to go in a straight line, but along the line of fibers, that it still won't work. Even just the first two of the mentioned nails do not always help: if the wood is hard enough, with a strong pressure on the knife, the veneer will “creep” from under the ruler along with the plywood.Therefore, take a few minutes and make the above device approximately as in the diagram on the left.
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The same diagram shows how best to position the veneer sheet when cutting. Pay attention to the direction of the fibers - they should slightly, just a little bit, move away from the ruler in the direction of cutting, and not go under it. Otherwise, the knife will tend to "tear" the veneer sheet from under the ruler, and as a result, sooner or later it will do it. And so the knife will simply go up along the fibers, leaving the veneer in place. Such a "failure" is much easier to correct.
When cutting, do not try to cut the veneer in one pass. Wood fibers need some time to deform, therefore, when the knife is pressed hard, it is more likely that a leading crack will form in front of the cutting edge, as a result of which the fibers will break before the edge of the blade has time to pass through the veneer and, accordingly, the cut line will be less even.
As already noted, the veneer has a front and back side. Accordingly, the wrong side will be glued, and the front one will be sanded.
Before cutting strips for sheathing the freeboard, it is necessary, using the drawing, to calculate their width.
When cut, due to the wedge shape of the knife, the fibers of the layer facing upwards are wrinkled quite noticeably, and the fibers of the lower layer are simply cut. As a result, the strip has a trapezoidal shape in cross section, as in Fig. on right. Naturally, when gluing the veneer on the lower (according to the drawing) surface, due to crumpled fibers, significant gaps will remain between the strips, and when gluing the top, the strips will lie almost close to each other.
From what has been said, it is clear that when cutting up, the wrong side of the veneer should be facing. How to determine it has already been said, and having done this, you should immediately shade the sheet, so that later, after cutting, you can immediately see which side of the strip to smear with glue.
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One end edge of the sheet from the wrong side should also be clearly marked with a colored pencil or marker. This will then help immediately, without looking, to determine which of the edges of the strip is perpendicular (it remains under the ruler when cutting), and which is beveled. It can be convenient to see all this when sheathing the hull, especially the underwater part, in order to form the highest quality surface, without gaps and crevices.
When cutting, make sure that the marked edge is always on one side. Left or right - it doesn't matter, but with one. If it is necessary to unroll a sheet of veneer, it is worth cutting or peeling off the marking and applying it to the other end.
Starting to cut the veneer, mark the lines of velvet on the surface of the board, and calculate the approximate width of the skin strips, taking into account the selection of veneer by color. The same marking will help to withstand the necessary bending of the strips when gluing.
In serious modeling literature recommendations are given for simulating a set of sheathing from individual boards. But in our case, due to the smallness of the scale, attempts to do this will not give any visible effect, and may even bring a negative result. A well-made solid smooth skin will look much better.
Optimal Width strips, with which it is convenient to work, range from 3 to 6 mm, depending on the curvature of the outline of the body and the elasticity of the veneer. Stripes of greater width usually do not bend well in their plane, although, in those places where the continuity of the skin is not important, for example, in the places of future cannon ports, it is quite possible to break it without compromising the appearance.
sheathing
The plating of the freeboard is usually not particularly difficult. The outlines of the nasal tip on it are close to cylindrical, and pasting them with veneer is quite simple. Before starting, mark the center line of the body surface with a pencil. This will maintain the symmetry of the skin. After that, you can proceed directly to the skin itself.
From my own experience, I can say that it is most convenient to apply the glue on both sides at once in strips, with a width sufficient for gluing six to seven strips of skin at a time.
Where the ends of the strips form curvilinear contours of the nose, they must be bent after applying the glue, immediately before gluing, using the plug from Moment, using the method described earlier when checking the veneer for elasticity. The very tips: about five millimeters - you can even break them further to avoid their further peeling off.
It is very important to carefully monitor that there are no areas of surfaces that are not smeared with glue, both on the body and on the veneer. Even if at this stage incomplete gluing turns out to be imperceptible, then later during grinding, and especially when finishing, the non-adhered sections of the veneer will almost certainly lag behind, forming bubbles, "siskins", as joiners say, and it will be quite difficult to correct them. Just as important is the most thorough lapping of the veneer when facing.
Sheathing the underwater part is somewhat more difficult (it’s good that this operation is the second one, when there is already a certain skill gained in a simpler area!).
Here the nose end takes on the appearance of a spherical surface, the veneering of which with flat sheets of veneer will require some experience.
To begin with, I’ll say that the cut of the strips for this part will be different - it’s more convenient to cut the strips not equal in width at both ends, but wedge-shaped. One end is narrow, no more than 1-2 mm wide, and the other is about 6-7 mm.
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Before bending on the cork, the wide ends must be cut with scissors, giving them a shape approximately as in fig. left. It is necessary to cut in such a way that, when applied to the body, the cut edge lies close to the strip glued earlier. In this case, the strip is held up by the adhesive, then the fibers will be deformed in such a way that a smaller gap is formed during gluing, according to the principle described in the commentary to the figure above.
In general, it is better to smear and glue the strips in such a way that their beveled edge adjoins the strips pasted earlier - this way a tighter joint is obtained. Do not look at each strip separately and the marking of one end edge, which was mentioned earlier, helps.
Strips are glued, as a rule, alternating such cut wide ends with narrow ones, which are easy to give the necessary bend.
The shape of the cutting of the wide end is determined intuitively, "by eye", therefore, until sufficient experience has been gained, it is worth cutting some of them before spreading with glue and, bending on the cork, attach to the body to see how it will lie and, possibly, correct its contour .
Sometimes it is possible to apply a strip by slightly breaking it in several places, or by making small notches on one of the edges with the tip of a knife from the wrong side. In the future, when lapping the skin, grinding and finishing, these breaks and notches will become completely invisible, unless, of course, they are abused.
In general, properly selected wood, due to its porous structure, is quite well able to take and maintain the required shape, deforming under load, which avoids particularly careful fitting. But only with careful bonding. The layer of "Moment" when facing the nasal surface should be especially dense, because. the load on the adhesive line is very significant here. Therefore, if the bonding turns out to be fragile, then the sheathing may fall behind during further finishing.
When the skin approaches the keel area, the fact that the middle part of the hull is somewhat wider than the bow and stern begins to affect. Therefore, the skin strips begin to bend more and more. To facilitate the work, some of them can be made tapering at both ends. Again, breaking one or the other is quite acceptable.
It is best to complete the sheathing directly on the center line. As a rule, it is most difficult to achieve a high-quality last joint, but in this case this is not needed because. here this joint will later be closed by the keel and stem.
If, despite all efforts, some noticeable gaps have formed, they can be repaired in two ways.
Firstly, you can glue on PVA with a thin shaving of the same veneer cut with a knife as the sheathing itself, then, after drying it a little, wipe this place with a knife handle, and let it dry completely. The second option is to fill the gap with thick PVA, scrape the smallest chips from neighboring areas with a knife into it, compact it with the tip of the blade and dry it well again.
It is better to cut off the ends of the strips protruding beyond the transom, leaving overhangs of about 5 mm. It is not worth cutting them immediately flush with the plane of the transom: this will increase the risk of damaging the “finish cut” during grinding.
When the skin is completely ready, these ends must be glued with PVA with reverse side along the transom contour line to avoid accidental chips during further processing.
grinding
For preliminary grinding of the skin, a sandpaper with a grain size of 10 - 16 according to GOST 3647-80 is better suited. The higher the hardness of the wood, the finer the skin should be. Fine sandpaper on soft wood will “salt” too quickly, and large sandpaper can leave rather noticeable scratches on hard wood, which will be difficult to sand down in the future.
In this case, the main grinding work will be on the underwater part, made of fairly soft wood. Therefore, when choosing a skin, it is better to focus on it. When processing the surface, one must try to ensure that the direction of movement of the skin relative to the body coincides with the direction of the wood fibers. About the caution required when grinding, I think it is unnecessary to talk. The risk of sanding the veneer through, especially in the bow, is quite high. If necessary, the thickness of the remaining veneer layer can be checked by simply pricking with the tip of a knife.
When grinding the concave part of the aft end of the bottom, do not try to do it completely with just a circle. Here it is also easy to spoil the surface. It is better to do this with sandpaper wrapped around a wooden cylinder.
After the first stage of grinding, the body workpiece is moistened with water, to which approximately one fourth or fifth of the PVA is added, and again dried well. At the same time, the wood fibers, crushed during the grinding process, swell, rise, and, thanks to PVA, harden. The surface becomes hard and rough. And now with the finest sandpaper, grain size 4 - 6, the surface is polished again. Now it's final.
It remains to process the transom. With a sharp knife veneer overhangs are cut already flush with its plane. In this case, all cutting forces must be directed so that the veneer is pressed against the body in order to avoid spalling. Just like when cutting strips, you should not strive to cut in one motion: it is much easier to ruin the work than to repair it later.
After trimming, the plane of the transom, again applying efforts only in the direction of the hull, is leveled with a small file.
Well, its veneering with veneer, taking into account the experience already gained, I believe, should not be difficult.
It is best to remove the overhangs remaining after facing in two steps - cut off the main overhang with a knife, and then with small files - flat and semicircular (or sandpaper) to finish the edges.
Well, at this stage and everything!
Let's hope that this, perhaps the most technically difficult part of the work, turned out the way you imagined it, and this will inspire you to continue it!
Author - Dmitry Kopilov
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I promised that I would separately talk about the main material used to build a sailboat model - wood. Of course, models of old sailing ships are built from both paper and plastic ... But our conversation is about the "classic" model.
A set of hulls, plating of sides and decks, carved decorations, spars and rigging elements (blocks, lufers) - all this was made of wood on ships until the 19th century. By and large, the model of the old sailing ship must be built from wooden parts and elements, just like the copied original. The classical model school assumes the use of exactly those types of wood from which the elements of the original ship were made when building a model of a sailboat. Moreover, Russian and french school ship modeling is based on imitation of the color of the model by matching the colors of the wood!
Therefore, it is extremely important for a modeler to choose the right texture, color, and hardness of the wood that he will use in his work. This depends not only appearance future model, but also the manufacturing technology of model elements, large-scale capabilities and much more.
Finally, there is one more nuance that is very important for any (and especially for a beginner) modeler - the possibility of acquiring a sufficient amount of the necessary wood.
Let's start with the types of wood used to build ship models.
This simple, at first glance, material is presented with a mass, sometimes, of mutually exclusive requirements.
Model wood must be strong, able to maintain a stable shape and, at the same time, be easy to work with and have a sufficient degree of flexibility.
The wood should have a fine-layered structure, which is important when building small-scale models, a fine non-friable texture and a variety of colors.
Wooden blanks selected for the construction of the model should not have knots, cracks and voids, woodworm passages, rot, etc.
When selecting wood species for a model old sailboat should be guided by the following criteria:
TEXTURE. Wood for the model should not have pronounced annual rings (it is better if they are not noticeable at all). The texture of the wood should be as fine as possible so that even a small detail looks big.
COLOR. Wood has a wide range of colors - white, yellow, brown, red and shades. For his model, the modeler must select those colors that best match the color of the wood of the prototype (unless, of course, the model is not supposed to be painted assemblies and elements).
HARDNESS (strength). On the one hand, when making a model, significant mechanical processing (sawing, planing, drilling, grinding, etc.) of wooden blanks is assumed. On the other hand, the scale of the model implies high-quality grinding of all details to achieve the scale of the surface texture. Therefore, for the manufacture of even relatively large and simple parts, preference should be given to hardwoods that are well polished, do not give pile and are less damaged by accidental mechanical action. For complex in shape or little important details, it is possible and convenient to use soft wood, which is easily machined, but needs subsequent finishing (impregnation, varnishing) to strengthen the surface layer.
COMPATIBILITY OF COLORS. Real ships, as a rule, were built from one or two main types of wood, which, after prolonged exposure to atmospheric factors (if the wooden elements were not painted), acquired a uniform grayish color. An exception may be the deck, which, as a result of constant washing and scraping, was noticeably lighter. In any case, a lighter wood should be chosen for decking than for side sheathing or deck fittings. At the same time, it is desirable to avoid excessive contrast.
Most often, ship modellers use the following types of wood in their work:
LINDE (alder, young maple, white birch).
Linden
Linden wood has a homogeneous, soft structure of various shades - from white to light cream and even pink. It is easily processed in the longitudinal and transverse directions, due to which it is widely used for chiselling solid hulls, composite frames, side and deck plating (most often rough). From linden, nose figures and decorative elements are cut. Sheathing slats made of linden bend quite easily without breaking, especially when steaming.
However, the softness of linden is at the same time its disadvantage. Linden surfaces are easily damaged, the edges of cuts and holes can crumble, it is very difficult to keep even edges on basswood parts.
Therefore, when working with this material, accuracy and subsequent strengthening of the surface layer by impregnation and varnishing are required.
Alder in its characteristics is close to linden.
Other soft wood species - birch, maple are not so practical, because some of their characteristics deteriorate with age, which makes them difficult to process.
A positive characteristic of these species, primarily birch and maple, is the uniformity of color (there will be no beating shades on one rail) and the straightness of the wood. Maple and birch produce fairly strong and flexible near-white blanks, making them preferred for decking. This wood can also be used for frames, sheathing of the underwater part of the hull, spars.
Maple
PINE (spruce).
Pine
Sufficiently soft pine wood is well mechanically processed, prickly and bends (especially when steaming or soaking). However, it has a high sharpness of various hardness along the annual rings, which makes grinding problematic.
Pine is most applicable for the manufacture of straight body parts - stringers, slats, rough skin of the body.
You should choose fine-layer pine wood, with a number of annual layers of at least 10 per 1 cm. In this case, you should choose wood with parallel layers (the slats will chip and break along the beveled layers).
NUT.
Nut
Hard, brittle, beautifully layered wood, ranging in color from light gray to brown. It is perfectly cut and bends when heated, which makes the walnut preferred for fine boarding. With careful selection of blanks (walnut has pronounced annual rings), walnut slats can be used for the manufacture of frames, keel, spars elements. But for the manufacture of small details of detailing, walnut is not always applicable because of its hardness and brittleness.
PEAR (apple, apricot, plum)
Pear
Sufficiently hard, flexible wood of fruit trees has a fine pattern and high density. Its color varies from cream to pinkish brown. Most often used for a set of deck flooring. But it is also acceptable for the manufacture of detailing.
Cherry
Solid wood of yellow-red color. It is good for thin slats. With appropriate processing, it is very reminiscent of mahogany, which makes it indispensable when decorating a model.
Oak
Due to its high hardness, oak is rarely used in modeling. Most often, Kazan bog oak, which has lain in water for 70-100 years, is used to imitate ebony.
Cedar
Straight-grained cedar is well known to us from high-quality drawing pencils (primarily Koh-i-Noor). Pinkish, easily processed cedar wood is used both for the manufacture of small details and decor, and for spars.
Let us now turn to the "exotic" varieties.
boxwood
Boxwood is considered the "king" of materials for fine carving. Its very dense wood with a uniform structure and expressive color from creamy to bright yellow makes it possible to cut, for example, vegetative scrolls on decor up to 2 mm in size. The hardness of boxwood makes carving difficult, but, for that, it does not prick, it allows you to cut through very sharp edges, which justifies its sufficient rarity and high cost. Boxwood is also used for the manufacture of small rigging elements - blocks, lufers, dowels.
MAHOGANY (sandalwood, manila, merbau, wenge)
The Red tree
Due to their technological characteristics, as well as due to the relatively high cost, they are used for finishing professional desktop models. They go to the deck flooring, detailing and practical things.
BAMBOO.
Bamboo
Straight-layer, easily split wood, which allows to produce the thinnest slats - up to 0.3 mm. Suitable for making small straight parts - stern window frames, gratings, dowels or wooden studs.
For example, I built a 1:180 scale model of Vitus Bering's "Saint Peter" packet boat, almost entirely from bamboo.
So, what exactly should a novice modeler choose for his model.
To make a hull set (keel frame, frames, deck bases), you will need plywood of various thicknesses from 1 to 8, or even 10 mm (it all depends on the scale of your model). There is no fundamental difference in the plywood material - you can take it in furniture stores or in the pantry - from old parcel boxes. But I would prefer lime or alder plywood, which, due to its softness, can be easily touched up with a knife when assembling the set.
For sheathing the sides, you can prepare: for rough sheathing - lime or alder lath with a cross section of 1 by 5-6 mm; for finishing plating and decking - pear, apple or walnut with a thickness of 0.5 and a width of 3-6 mm.
For deck detailing, you will need a pear, an apple tree, a walnut, a cherry. For decor, take linden and pear.
For spars, pear, cedar, bamboo, American walnut or small-layered spruce are suitable.
We cut out small parts of the rigging from a pear.
I can imagine how a novice modeller scratches his head in puzzlement - most of the above, especially in a large city, is extremely difficult to get.
Moreover, even cutting furniture production(if you have by chance, there is a furniture factory) should still be dissolved on a mini-sawmill to the slats of the desired size.
Fortunately, today there is the Internet. And on the Internet there are modeling sites with online stores selling both materials for modeling, and finished blanks, and even finished parts from various types of wood (for example, "Shipyard on the table - https://www.shipmodeling.ru/).
Besides, necessary materials can be found, literally, underfoot: in addition to the already mentioned parcel boxes, fruit boxes and veneer baskets for strawberries, which can be found on the market, will be used; student wooden rulers are an excellent source of material; in the markets you can often find Chinese kitchen utensils (in particular, rolling pins) made from pears.
I built my "Saint Peter" from bamboo slats, on which I spread bamboo "kebab skewers", toothpicks and old Chinese blinds.
so it's worth just looking around.
