Swedish Warship VASA -The Finale/ Rex Stewart

The finished Vasa model -shown with full sails in the appearance of what the ship would have looked like had it not sunk. After seven months in this build, I finally was able to get all the minute details.

As with all my work, past and present, there is a sense of accomplishment that's difficult to explain. If so, it would have to be in book form...if that's possible. I don't know. But what I do know is history is a wealth of information accessible to anyone who dares to explore it.  There are no limitations to it, just the fact that it's there for the taking.

When a subject comes to the general public, and it's marketable; that subject takes on a life of its own. From it are many variations and in most cases that subject is scrutinized. However, the point is to enjoy the work, not debate it. With that approach, true satisfaction is achieved and more works can (by choice) be realized.

This Vasa model is just one of 'many' models I've engaged over the years. No different from any, but a collection of all in various mediums and classes. This is one of my specialties as a historian-artist.

My experiences from times past is the anchor for my successful journey 'today' in the maritime arts... which also include ship models. And this Christian testimony is given to God's glory and not man's. However, from a social stance, I have been fortunate to connect with those of maritime excellence -obtaining information that would push His work(s) to a greater level of visibility.

And yes, we will have mockers in this business; but the fact remain that NO GOOD WORK will be hidden. That's an absolute that men have tried to challenge...and failed.

Here, I sit on the deck of the Dutch VOC replica HALF MOON looking over the original plans of the contemporary ship that Nicholas Benton and I designed in the summer of 1987. My involvement was the design of the topsides based on his trip to the Netherlands to acquire the data.

Below, the Royal Family sit before my accurate model of the contemporary ship which was celebrated at the Waldorf Astoria in New York City that fall of 1989.

After that celebration,  22 years later I was again commissioned to build another HALFMOON model at a larger scale to parallel New York's Hudson-Fulton Celebration 400...And because no one had the original plans (but I and Benton), the model had to be in exact detail to the actual ship.

Below, a large scale diorama I created depicting the Lenape natives advancing toward Half Moon that September of 1609 (at the mouth of the Hudson River)...The diorama commemorated the Hudson-Fulton Celebration as part of a downstate Ellis Island Exhibiiont which was commissioned by its curator, Dr. David Ostreicher.

Here, during the Hudson-Fulton 400 Celebration, Dr. David Ostreicher lectures about the Hudson River, the ship Half Moon (Diorama), and the Lenape Tribe in New York City that fall of 2009.

After the diorama project, I went on to explore the possibilities of building additional Half Moon  miniatures -along with other ships...such as Prince, Endeavor, Batavia, HMS Revenge, and others. Those sailing ships were interesting builds which motivated me to explore the possibility of enhancing existing kits through modification. And  with that came this current build which is now featured in this blog and added to the roster of detailed models.

There's very little I can say that hasn't already been said of this vessel and its history. So many  models exist that the beauty and design clearly denotes Vasa's identity. Therefore, the remaining closure to this blog will be the images of  'the finish'.

I raise my glass to the Swedish people for bringing the actual ship to the surface and providing professionals like myself the opportunity to study the history from a creative perspective. Furthermore, I'm indebted to the Dutch culture in The Netherlands for their input and support relative to providing me data forwhich my models have been based...That, alone, is priceless.

Now, I present these eight images of the finish...

As aforementioned, my sails are custom made of treated bond paper. These are antiqued over a five to ten year period so that I achieve beautiful folds while shaping them. There are no visible (if any) punctures in the material; and the rigging that's applied set these off nicely.

Below are two profile views showing the gracefulness of Vasa sails and how artfully they fall insync with her superstructure...One of the reasons it's one of the most sought-after subjects in modelling. Also, the symmetrical rigging (whether loose or tight) -draws the viewer to examine its properties.  For me as a youth, this was a fascination to view these lines at my local Boy's Club.

I would go directly to the clipper ship model at the entrance -being intrigued by it's rigging. There were no sails, just those awesome lines running through blocks and being belayed to the decks and tops. That, alone, sparked my interest to pursue the art.

The next two views show the lines and their complete belay falls which was one of the challenges I embraced for the purpose to have other builders engage modification. Anything can be upgraded to excellence, as shown in these images.

These last five images are profiles of a fine model in the Airfix Classic Series on WASA c.1628.
This was one of the best kits when it was introduced in the 1960s -along with the forerunner ROYAL SOVEREIGN, which was followed by the SAINT LOUIS c.1626.

This concludes the Vasa build; and I'm delighted you enjoyed the entire presentation. Of course there will be other Airfix models I will (overtime) modify.

As for those who have kits that wish to be finished for enjoyment and/or display, I can honor your request. Kindly email me at Caseships@yahoo.com or PM (private message) me at my Linkedin page https://www.linkedin.com/in/rexstewart. Other work(s) can be viewed at https://youtube.com/c/RexStewartoriginals

Thank you for viewing!

Art Of Rigging The 1:144 Scale VASA/ Rex Stewart

Here we are ...the second and final phase of this build -VASA's rigging.

In this segment the standing rigging, along with the tackle systems will be covered. For this, it is important to zone in on what's written concerning this process and/or area of build...I must have said this a thousand times over the years for builders (novice and professional) to not rush their projects for acceptance, but to evaluate (and re-evaluate) their research to make sure ALL the i's are dotted and all the t's are crossed. Especially in the rigging phase.

I have read several contemporary blogs regarding both plastic and wooden kits relative to the impossibility of rigging miniature models with the same amount of detail as their larger counterparts. That incorporating miniature detail to these smaller models (both in hull and rigging) would distort the scale -and that the quality would be compromised to those kits that were readily prefabricated. Not true, because the beautiful word 'modification' bring into existence, by way of research, the probability of achieving the best in any kit.

The first criteria to good rigging is good planning...

Here, I just finished a partial rigging table for VASA.

Rigging tables can be beneficial for both present and future use, especially when possible clients request a second or third build from the original. Every artist/builder has their own style and/or method that makes a work a 'signature'. A work of art that is easily identifiable by a discerning buyer and/or collector...Finally, since builders have their own interpretations, it is best that such information be safeguarded.

For years I have researched and re-worked rigging tables based on the studies of others and have discovered more details that have enriched my line of work.

After finishing rigging tables, sails are bent to how I want them featured. For this particular model I want to make the sails appear wind-blown. This will take a lot of engineering to make paper appear cloth-like. Also, to have the lines appear realistic in their fall/belay locations. Here, in the backdrop of the sails, I show a rough pre-sketch used to support the actual configuration(s).

Notice that all blocks and lines are added to both sail and yard(s). This procedure make it easier for the rigging process to move smoothly. One sail can take a day to produce and rig... Sometimes two to three days as shown in the photo images below which depict the main course sail.

Main Course Sail...front view.

Main Course Sail...rear view


Blocks and tackles...tackles and blocks -one of the areas of build I found to be most challenging (to the testing of patience)...In the image below, the miniature blocks and tackles illustrate how awesome a model can become. To make this happen I utilize my personal tools dubbed the "rigging chopsticks". These were made to perform a jeweler's style art to the rigging as shown in the two photos below:

Applying the blocks and silk lines using "rigging chopsticks".

In the above images, progressive results can be seen with the use of these sticks...and the detail becomes  'front and center' for quality. This instrument is not only capable for securing rigging lines (in perfection), but can also assist with the gentle curvature of lines in areas where it seem impossible to reach.

Billowing effects show the gentle curves on the spritsail edges and sheet lines. Also in the lower photo image, details are shown in a deck closeup of belayed lines and coiling-a result from using the "chopsticks".

Here, another angle showing sheet and tack lines hanging loosely to simulate realism.

Starboard bow showing the attached bowlines on the forecourse -along with the tacks and sheets. Once these lines are established, it is here where patience run its course... Again, the "chopsticks" come into play because none of the lines can be attached with tweezers without fouling existing lines. The long metal point of the sticks are thin enough to get lines through the small areas and be effective enough to secure them to their respective pins. Tweezers only serve to assist those lines.

With the sprit(s) and forecourse sails established (as shown), I now work my way to the flags.

In my most humble opinion, flags can make or break the appearance of a good model. Depending on how a model is presented, it is best to have the flags in unison with the sails. If sails are full and limp, then flags should follow the same pattern. If sails are in a slight or full breeze, then flags should be the same...And finally, when wind push sails back against mast(s), flags should be angled sideways (port or starboard) and/or flying backward. Wind pushing sails forward the mast, sails should be forward or angled sideways in forward position. Former servicemen brought this to my attention when I built commissioned kits during my youth.

This image show the paper flags provided by the Airfix manufacturer. These are not properly scaled for the model; so to correct this, I cut a smaller version and changed the paper thickness -applying the references from Bjorn Landstrom's book concerning his graphics and colorscheme.

Here, the new flags and pennant are fashioned as windswept pieces. By placing these flags on the masts (prior to finishing the remaining sails), gives a visual blueprint on how those sails will be bent based on the formation of the flags.

With the foremast sail and rigging systems in place, I now move on to the mainmast -using photo references to get the proper folds and bends of my sails before applying. This can be a long drawn out process since the sails are paper that can be easily torn or punctured. However, with years of practice, I've been able to achieve realistic settings concerning them.

In my prime as a builder, I studied Asian artists and adopted some of their techniques in my work to get a step higher with miniature projects -especially in the genre of sailing ships. I realized that silk had properties that would later fit into my rigging concepts -and that chopsticks and sandpaper would serve to bring about the very detail I was expecting in ship modeling.

Viewing the images below, the point is proven as I address VASA's mainmast.

In the four above images the main course and topsails are installed...shaped to display a billowing effect in those sails. The last image show the lines secured to the knights and pinrails on deck. These are also secured in the tops to fulfill the assignment of a complete rig.

At best, the latter half of the rigging process is the most difficult because the lines are much tighter together. This is one of the reasons the rigging chopsticks is an invaluable and exceptional tool. I can get immense detailing with it...So now I continue with 'the finish' of the main mast and move on to the mizzen -beginning with the lateen sail shown in the image below.

 This now finalize the last phase of the rigging.

The next blog will feature limited photos on the completed model based on the late Bjorn Landstrom's book "The Royal Warship VASA".  The build has been interesting, to date, because the book brought in depth study of how the ship was built. That, coupled with my research on her rigging made this a unique project of note. So now I close being satisfied that I can encourage other builders (whether hobbyist or professional) to study their kits and make the best of them.

I an not in the business to 'compete'...Never have, never will. My purpose in the maritime is to give insight into the world of shipmodels and take place it on a subtle plateau of visibility so that others can be encouraged to take it to another level of excellence by their choosing.

As for those who have kits that wish to be finished for enjoyment and/or display, I can oblige this. Kindly email me at Caseships@yahoo.com or visit my Linkedin page and supporting youtube page at https://www.linkedin.com/in/rexstewart/ and https://youtube.com/c/RexStewartoriginals . I can also be reached at 1-774-757-7137 for details.

I now leave you, the viewer, with these thoughts and look forward to your next visit on this subject of the Swedish frigate VASA. Fair winds!

Ship Model VASA -The Details/ Rex Stewart

This photo represents the next procedure of the VASA build which are the masts and rigging. The next three photos show how the plastic masts are substituted with wood -while keeping and modifying the tops as shown below.

First stage...

 Second stage...

The comparison and distinction between plastic verses wood. The masts and crosstrees are birch, while the mast cheeks and caps are bass. Both items are custom-stained and varnished with spar urethane; the actual substance applied to sailing vessels.

Third stage...

Joining same materials together will assure longevity, re: wooden mast to wooden deck.

After stepping masts in holes, I secure them with needlepoint glue application to make areas clean for  rigging, especially since coiled ropes are needed in this area.

Port profile show all VASA masts aligned and secured properly. Of note, both sprit topmast and foremasts extend straight up, while the main and mizzen masts are raked backward. This was the rule of Swedish and Dutch ships of that period.

Full starboard profile showing stepped masts...

One point that I missed in this area of build, and that is the anchor scrub swabs. These were important to the ship for removing barnacles, seaweed and other debris as the anchor(s) were fished and secured to the channels. I've received 'arguments' from others as this being 'tow rags' for the toilets. But given the scale and the stiff appearance of this feature in various drawings I concurred with the findings of Bjorn Landstrom.

This apparatus (tow rags) would have been in the bow/beakhead location of the ship. But surely, not at the scale featured in contemporary drawings of that period. Those artists took painstaking effort to scale those swabs accurately. To further support my findings, the period and contemporary illustrations below are evident relevant to scale.

The first drawing created by artist Willem van de Velde show the swab hanging outboard at the stowed anchor on the fore channel. The drawing below the first show two swabs on another ship hanging below the beakhead gratings near the area of the anchor cables.

And finally (to scale), Bjorn Landstrom's drawing showing the same system below.

The next three photos will show how I positioned the swabs on the model based on those references:

After addressing the swab feature, I pushed the focus toward all the areas that involved the masts and rigging -including the deck furniture that supported it.

Engineering is very effective here because it's not that simple to expect quality rigging if it isn't properly planned. Furthermore, there is no guarantee that the lines will correctly belay based on common generics... Rigging will be uniform -provided the masts and yards are set correctly, as there are no shortcuts.Therefore, expect complicated lines (and their falls) to be belayed with a clean, professional appearance which will be based upon establishing correct belay points.

Notes and early diagrams of these belay points must be planned  -with room to make corrections as the process continue. There are no hard or fast rules to 16th and 17th century rigging. Accuracy should be the foundation but it's not always the rule; so any builder who venture here will have intense homework to pursue.

A few of those assignments lie in the area of halyards, parrels, topropes and tackles. These are seldom applied on good models and I must conclude it was a challenge rigging them, or limited knowledge of them. One thing is certain; without these features, very little can be said about 'accuracy'. And for ships of this period to not have these is like a boat not having oars.

This port profile deals specifically with what's been written. Notice the halyards, tackles and topropes. These principle lines make up the major functionality of the 16th and 17th century ship. Unfortunately, this detail will be hidden behind the shrouds and ratlines -and will only be noticeable when viewing the model from behind looking forward.

The next step in this process is rigging the stays...I use one of my rigging chopsticks to hold up the mainstay so that the shrouds can be rigged beneath the collar.

This closeup view show details of tackle, toprope and halyard lines which are roped and coiled at their belay points. This type of rigging gives more depth and authenticity to the VASA...Also in this closeup I discerned that there were no bits to take on the fore sail bunt lines -lines which assisted the clews to raise the sails and reef them to the yards.

Such bunts could not have been belayed on the side bulwarks due to the positioning of the cannons. Therefore, the other alternative would have been to secure those lines to bits at the base of the mast. The remaining pins behind the mast (as shown) were to secure the clews and lifts of both fore course and fore topsail. All other lines relating to this ship either went to the tops or the side bulwark pins.

 Another closeup (starboard view) showing the miniature falls and rope coiling on deck. And finally,  I show a portside overview of the tackle systems in the image below.

The model is coming along nicely...

In this image I am drafting a layout for belay points on the VASA fore deck. As I continue to build, I discover new points that general models don't feature -such as deck bitts that take on the tackles for principle lines that are frequently used on the ship. In this case (as shown) -the bunts.

Much of the drafts begin this way to make it easier for future references, should a (scratchbuilt or kit) model be requested. And yes, it is very time-consuming; but from a Scriptural perspective it is written to "let patience work its perfect work." So yes, my perfection concerning these projects are based solely on patience.

I conclude this segment on the premise of rigging procedure. The images give the viewer a visual perception of high quality that can be obtained from a mere kit. The only ingredients for this is patience, research, and the exploration and experimentation of materials that work best.

Each builder has their niche which will set that builder apart from others. Therefore, kindly abolish the comparison rule on this -or any endeavor...There are different levels that exist to get an artist to the next (level). In otherwords, what you own is yours, alone -and it becomes very personal to 'you'...which brings a question to you which is: "How bad do 'you' want it?"

So, if you are attempting to acquire excellence in a thing, then you must be prepared to endure the pitfalls. Don't be discouraged, just enjoy what you do and you will be fine -guaranteed.

For those who are limited in their resources and are unable to commission a scratchbuilt model. The second option would be a kit (regardless of medium). Whether it be wood or plastic, I have the ability to make it most impressive and worthy -since accuracy and detail are the formulas for my creations.

If interested, write: Caseships@yahoo.com or call 1-774-757-7137 for details. You can also view my profile and other supporting images at https://www.linkedin.com/in/rexstewart and https://youtube.com/c/RexStewartoriginals

Building, or rather modifying this vintage Airfix kit has been quite an experience...and the journey continues. Thank you for viewing!