British Warship HMS Prince -Art Of Modification/Part Six

 This starboard overview show how beautiful and meticulous rigging can be when applied with careful assessment and patience. On such a small scale as this, it seem impossible to get the fine details (as such). But this can be achieved by working out the process in set stages -and scrutinizing each stage to make sure every possible line is applied. More is better if those lines can be fitted.

One of my greatest assets to period ships, especially miniatures, was my discovery of a chopstick method/system. With it, I was able to get difficult lines down to their belay points and finish with attractive coiling. Below, I apply this technique to the bow area where I secure the falls of the anchor bouys.

Rigging of any vessel requires concentration. Such can be seen with the partial tackle systems below...Notice the lines aren't fouling -and are properly spaced. Furthermore, the lines are led to points  that are logical for effective crew handling. 

Rigging caught my attention early on during my youth, especially when I frequented the Boys Club in our city. There was a Clipper ship model that sat above the bowling lane that I admired. I wanted to know the history behind the ship and build.; but most important to me was how the rigging was applied. So for several years I would study it and asked the manager if I could stay behind when it was time for the building to close (for dinner hours).

It wasn't long before I spent my Saturdays at home watching pirate movies. I studied every aspect of those ships and zoned in on the rigging. What I missed in the first viewing, I made notes; later waiting  for it to air again to get more information...Finally, my frequent library visits which started with my first book "The Ship" by author Bjorn Landstrom. That book, alone, opened up a new frontier of possibilities for me to excel as an artist-craftsman in the field of period ship models. His books (at that time) also assisted with my studies of various rigging lines.

We can never cease limiting our knowledge and/or abilities to improve and advance. Here, I am drawing a 'new' set of rigging plans based upon new discoveries of ignored processes. Since my first PRINCE of the 1980s, certain information weren't available -simply because home computers weren't a thing at that time. Now, with technology being what it is, there is a vast sea of information where one cannot be misinformed.

The above image is a perfect example of misinformation. What appears to be multiple lines on the left image is only a duplication of port and starboard belay points. Whereas the image on the left has many lines that have been researched and are not duplicated; but rather initialed 'p and s' which mean that this system of rigging will be featured port and starboard. Also, I was able to get 30 more lines rigged above the number count of the image at the left.

With better knowledge of the rigging process, it's now possible to customize the sails supporting the technique -leaving no guesswork. All lines are in place, ready to be led (in sequence) to their correct pins. The sail shown is the sprit sail.

Below, two views show the sprits and the effectiveness of motion in them...

Frontal starboard view showing sails and flag in a downwind...

Waterline view of same sails with furled jib. Here, the viewer can sense the movement of an imaginary wind...

Creating a sail (with attached rigging) can take up to three days, or more.

Here, the lines are clean and fall to their correct pins. Contemporary hobbyists and builders avoid complete rigging such as this because of either time constraints or inadequate knowledge of where the lines fall. So to avoid scrutiny, they just pass over the process and deem their pieces 'accurate'.

Such a word is baseless because it denotes totality and must be validated. I once embraced that, too; but realized as I matured in the art, the true premise for any 17th century ship is predicated on research. The more fact-based research, the better the model. Not so much the appearance, but the sweet evidence of the find...like the discovery of the Swedish ship Vasa.

The following six images will show updated rigging. It's been a complex and tedious affair, but well worth the effort relative to achieving the effect of true maritime -which is a science in and of itself...For instance, the Kensignton 'Science' Museum in London, England where the actual Prince (and other notable models) are housed is the result of painstaking research. This modified kit version is no exception.

There is not much more to say on this current blog except to leave you with these last two images in closing.

Any kit has promise to be something both breathtaking and extraordinary at the same time. It's really how one see the glass, whether it be half empty or half full. This is true with modelmaking.  Laying eyes on these kits during my youth touched me in such a way to get the community involved. I was poor and didn't have the resources to get the 'right' materials to re-create the visions I knew were possible; not until I came across local business executives.

They had the money; I had the vision...

I pointed them to what I needed and they wrote the checks. These images are the result of what kindness can do; and that kindness extended forty years to 'today'. I had a vision to take three kits from a British manufacturer and mold them into miniature masterpieces -using Scripture of "a little here, a little there. Precept upon precept; line upon line"...and, I'm doing it.

I don't know what the final outcome will be when this final model of the Trilogy Series is finished. I can only hope these will be honored 'somewhere'. The main thing is that I'm finishing a four-decade old  project that expands two centuries (1980 - 2021)...It doesn't get any better.

I hope to have this piece completed in several weeks; so until, keep viewing! 

Fairwinds, and thank you.

 

British Warship HMS Prince -Art Of Modification/Part Five

 

In my last blog I spoke about not being too consumed in a build. It's always good to walk away when the mind touches upon frustration. Others will argue that it's 'healthy'...but there are consequences when attempting to force a thing.

I know only a few will heed my advice, and this will only rob those who are proud to not really digest what I'm writing. I didn't get here to this level shucking peanuts; I got here because I was 'willing' to read the literature of my forerunners to get the schematics of the process. I threw away the vanity and the politics to embraced the method and techniques. That's how hungry I was to be one of the best in what I do.

The above image show the detailed bow and anchor arrangement of the Classic Series -Airfix HMS Prince. The colors are subtle and not overworked -lending more attention to details while the goldleaf absorbs the viewer. Goldleaf doesn't overpower the model, but rather introduce a natural balance that the eye can absorb.

Below is my wood sculpted diorama titled "The Admiralty" which shows Phineas Pett among other subjects viewing and discussing a build for one their ships. It was one of his designs that brought the  H.M.S. Prince to sea.

Now that we're past the concepts of the hull, it's time to move on to the masts and rigging. Such is a complicated subject to discuss and I won't waste any time 'there'. My sound advice relative to it is simple: research, read, and research again. That's the jewel of ALL jewels -the ability to read and cipher between fact and fiction. The quality of my builds stem from the desire to compete with self. There is no good in competing with another; you take on their burden while attempting to finish yours. Also, don't make comparisons...just be honest about your assessments for which to make a point.

I made mention in one of my earlier blogs, that belay points were carefully studied before permanently securing the apparatus that was used for rigging this type ship. Furthermore, the locations had to be featured both on the masts/yards (and decks) where the falls would not foul the lines. In the process I noticed that the garnet tackle was wrongfully rigged on the top rail of the main deck. The scale would not place it there, but rather on the deck with a bitt piece (and ring bolt) which would secure the lower hooked block of the garnet. I found that the lashed spars would conflict with this tackle, so I made alternate bitts (port and starboard) and placed this apparatus portside.

In future photos I will show this detail...

 Another oversight was location of the fore course tack lines. I must concede that I flawed in my earlier builds of this vessel. Some experts stated that my lead and fall was accurate, but after seriously pouring over the plans, I realized I was just executing another fine-looking model. In this image I made bitts forward of the mainstay deadeyes for which to take on and secure the course tacks. This would in no way foul the other principle lines leading to their correct pins.

Below a model of the ST. GEORGE, 1701.... show those course tacks belayed in the same area. So, in essence, this is correct. As long as the lines are not overlapped on the same belay pin, the builder is fine. However, I did find that the topgallant and topsail bowlines overlapped; but those were of the same system and separate from the other functional lines. 

With that information secure, I'm now ready to rig...

As aforementioned, advance rigging takes much observation and preparation. The key to it all is to get the tackles on the mast (first); followed by the stays. Then, the rigging blocks must be attached as you work those two systems. Finally, the topropes and their tackles...Below are four images showing this process. Also, don't be particular about the outcome of the rigging process. Mistakes will occur; and don't take anyone's opinion as law. Things look good on paper (plans), but the true value of a thing arrives at the conclusion. Just because it's on paper, doesn't make it fact.

Build the model and you will discover your facts as you build. Sound and perfect advice to those who are willing to apply it.

The first application of rigging to PRINCE are the relieving tackles that are seen beneath the tops; followed by the stays. If the stays are applied first, then there's no need to focus on these tackles because it will conflict with the shrouds. Next is the garnet tackle(s) which is carried on the mainmast over the relieving tackles...After these are applied, move on to the stays and the webbed rigging above them known as the crowsfeet. That feature was to prevent the foot of the topsails from chaffing against the stays.

The final process before the shrouds are rigged is the sprit topmast backstay seen at the upper righthand; and the manropes (port and starboard) that lead from the forward bulkhead above the doors to the back stem of the topmast cap in the top...And last, the topmast topropes...and their tackles (that are rarely seen in good models).

The last two images show a partial finish of what I just mentioned -which will conclude in this blog before moving on to Part Six.

There is another important detail that need to be made mention of in the tackle system that can't be avoided. These are the truss tackles -a system of combined blocks and multiple rigging that was used to raise and lower the fore and main yards that were attached to parrels. These parrels expanded (with the help of the truss tackles) as they traveled over the wooldings as they were raised and lowered to the deck.

I've witnessed many builders producing detailed models, but shy away from the important details that would make the model authentic. A properly rigged model is worth its weight in gold.

In this photo I am reviewing details that I either missed, or need to revise. Such notes can be very time-consuming but worth the effort when it's effectively presented. It's not about being scholarly; it's about revealing buried information that go unnoticed...All the more reason these models are sought after by serious collectors.

As I continue to rig, I discover that more belay points/pins are needed. Early kit producers only gave generic/basic rigging leads; but omitted those that were essential to model building -especially on the PRINCE (and other 17th century ships). These lines were the various tackles, topropes, halyards, and proper bunts and leeches. Many models barely feature them -and these were the main systems for keeping the ship operational.

Below, I begin to address the rigging process by placing the miniature blocks on the masts and tops prior to rigging -and then secure the tackles before placing the shrouds.

Here, the tackles are applied, but more must be added. In  most contemporary models tackle falls aren't visible and must be found. The falls must be true to rigging standards relative to where those leads tie off. I've come to find that some of these lines were not on belay pins (as such) but on eyebolts with blocks that were in tackle form which were belayed on the lower rigging of those blocks -as shown behind the mainmast next to the companionway.

The image below show the early stage of shroud rigging...

Another application that I apply before continuing with the shrouds is rigging the jib. I usually draw out a rough sail schematic in lue of making a decision on how best the model will look to the viewer. I attempt to keep it authentic by mimicking sail formations on contemporary photos. However, I don't copy them to the letter, as such; but apply the basic generics (with my thought process) to give a more dramatical flow of canvas as if the ship was before the wind....But the process begin with the lead sails. The flow starts there.

 Here, I begin with the jib. I tried to make it as realistic as possible which included the folds and reefing.

Another common detail that seem to evade 17th century shipmodels are the crisscrossed lines on the lower and upper shrouds shown in this image. These were essential for strengthening the shrouds and were called catharpins. It seems difficult to rig these, but if the steps are applied faithfully (with concentration), it's fairly 'easy'.

 

I now leave the viewer with this image of the progress. However, I must be clear relative to these type models. Understand that there are no absolutes with the rigging process of these ships except that the applications were basic and true to the writings of the forerunners. It's those writings that I followed to conclude my spin on the process.

Over the years curators have falsely claimed that the rigging on the Prince was done during the time of the build; but the fact of the matter was when the actual model was purchased by the Kensington Science Museum in 1895 it was unrigged. The rigging was done in 1898 but wasn't found satisfactory and was subsequently redone correctly some years later. Yet, the question remained regarding belay systems that seem to have evaded those scholars of that time.

That being said, one can only speculate (with experience) where those systems began and ended on the conclusion of the lines themselves. So it's only fair to not assume but work those belay points where those lines would seem efficient for the crew member to work. I've done this to the best of my ability with all these models to the satisfaction of my collectors and scholars in the field.

Of course I've faced unprecedented scrutiny in the process, but that usually comes with the territory of painstaking research. This is what make my work what it is and I continue to push it forward with purity, not politics.

Airfix was true in designing this kit with what limited information it had -and I must concede that those engineers and draftsmen/women did a fine job of it. But with further global information, this model brings to bear even deeper revelations which, in part, make my work rare.

I appreciate the follow and hope you will be ready for 'Part Six' of this series.

Thanks for viewing!

  

 

 

Airfix 1:180 Scale PRINCE...The Art Of Modification/Rex Stewart -Part Four

This is a more advanced image of the PRINCE current stage, but it has enough finished detail to now focus on the upper batteries and channel deadeyes.

I realize that this will probably be a seven to eight part blog. However, it's worth writing, especially when serious builders want to further their skills relative to historical detail(s) as opposed to the generic -or common practice.

I can't say it enough about 'admiralty models'..Again, they were not accurate in the sense of scale, but rather beautiful art pieces that were visual prototypes for building the actual ship. Builders get caught up in thinking that these prototypes were, in essence, the 'bible' to naval architecture. They weren't; and to believe that is a misnomer. I was fortunate to learn this (the hard way) years ago when a serious collector 'collectively' corrected me on certain details that I copied from a admiralty model. He waived the advances (out of respect for my work) and had me repeat the build with written data from writings of that period. That model became the cornerstone for all my models -including steamboats.

The images I'm about to place here will stem from actual documentation -and not speculation or theory. This is what makes a model unique and beautiful.

In my last blog I showed how I customized cannon to fit properly in the ports. Here, I show them from various deck angles which give a realistic feel of duplicating the actual ship...This is due, in part, because of proper scaling. Below are four images to support this:

A port broadside overview showing the complete gun batteries in both coil and recoil positions on both the main and quarter decks.

Portside stern overview showing another inboard/outboard perspective of the cannon and grates. On the original model the grating was too close to the mizzen mast and was relocated further ahead to the  quarter deck fore rail area. It was scaled wide enough to make room for the carriage tackles running in and out the cannon.

Starboard profile of main deck artillery...

 

Port overview showing the forecastle belfry, companionways and inboard/outboard cannon and tackles. Instead of keeping the full capstan, I removed the upper portion and replaced with a hole-drilled dowel and made wood capstan bars which are shown belayed on deck.

Port stern view showing partial full main and quarter deck cannons. This was the final deck installation before moving on to the channel details. On the admiralty model the belay pins were atop the rails. Unfortunately, because the Airfix version was off scale in this area, I had to compensate by placing the pinrails inside the bulwarks.

Over a hundred or so models I researched on Prince, I noticed details missing that encouraged me to place more emphasis on this. With the channels I noticed eyebolts missing which took the relieving tackles; but this was also evident in the tops. On the main channel the lower studding sail boom and cradle wasn't featured (on any of the models); nor knees attached to both channel and hull to strengthen it (channel) for taking on the heavy boom and relieving tackles. Below, I show this detail in a Willem van de Velde II study of the English ship  VICTORY which was built in 1620...She is shown as she appeared in 1666.

There is another possibility at play here; the fact that this was, and could be, a spar lashed alongside in the event that a topmast was lost at sea due to inclement weather or sea battle. There is another spar at the quarter deck tier which is lashed as well. However, in the Kennington lists of the 1650s, studding booms were mentioned for the main mast and must be presumed to fit on the main channel.

For a model builder, it's a judgement call. For me, I chose to feature this detail as an additive to European maritime practice as shown in the photo image below.

Another portside overview showing the studding boom and cradle on the left at the deadeyes and  channel...

Research is what you make it; it can be intense or it can be mediocre...but at the end of the day you own it. This is why I try to make the best of my materials and look further into documents to find whether things are 'political' or whether absolute. In my journey I've danced with both and I found this great peace of knowing truth -which is why these pieces are at the level that they are.

Now that I've clarified the studding booms, my next process of the build are the masts.

To join plastic to wood is a tricky endeavor. The right glue is needed and a ton of patience. Since I will be using the plastic tops, caps, and crosstrees; it's essential that I carve the wood masts a millimeter smaller than the actual (plastic) masts so that these can be fitted properly in the routed cavities where the plastic was. To keep the wood in those cavities I carefully drill holes in both plastic and wood pieces -gluing a metal pin in the wood and then sliding the open air part of the pin into the plastic. Being careful not to have glue touch the exposed areas since these have to be stained, varnished and painted.

Below, I shave away excess wood to form the mast...

Notice the partially finished mast above my carving hand; and notice the completed mast below. To actually view it, one would be convinced that it was totally wood.

The next step of the build is to study all the belay systems before stepping the masts. This is very important, because once the masts are secured, there's no possibility of having all the lines rigged. This can take several weeks...sometimes a few months; and serious builders/collectors know this.

Below are several views showing the masts, and how they will appear on the model before the rigging is started.

 

This concludes the fourth part of the HMS Prince build. I truly hope that what I've stated can be beneficial to those who currently own the Airfix kit. Understand that no kit is a hundred percent intact by way of fitting together parts. Every kit has its pitfall, no matter how detailed.

What will guarantee a nice model will be the patience in building it. There will be moments of anxiety and frustration; but that comes with the territory of discovering new information and/or techniques. Quality depends on how much time one is willing to put in a project...but, NEVER get consumed. That will only drain your focus. The 'first' PRINCE drained my focus, as the model was attractive; but, common mistakes were made. However, I corrected those flaws and am satisfied with this current work. 

That being said, I close this portion to make way for the next.

Fairwinds!

H.M.S. Prince c.1670 -The Art Of Modification/ Rex Stewart

This portside view defines the beauty of this popular kit that was introduced in the mid 1960s. It is a current build that was to have been part of the trilogy series I started in 1980. Before pursuing scratchbuilding work, I acquired plastic kits for this academic study. In them I could experiment with different applications such as using custom made parts made of wood, metal, and various fibers to get certain details I researched from publications...The first such experiment began with the Airfix Classic Series model SAINT LOUIS of 1626.

Here in this in this 1980 news image, I am working on the Airfix Saint Louis c.1626 that was part of the Classic series -and the first to be part of the 'trilogy build'. The British company was producing outstanding sailing ship models at the time and it was my desire to build three models of its Classic Series edition to show (in detail) the rigging types of the 17th century. To accomplish this I needed the best references -and because I couldn't afford them, I reached out to the business community to assist.

I had already attained support from the Jewish girls at the University I attended as an art student relative to stain/varnish applications -along with the technique of gold leafing. So, it was just a matter of time before I could get this quality of workmanship exposed to the general public. Twenty years later these models were acquired by collectors for their intrinsic beauty thanks, in part, to that culture.

The book that is shown in the photo is the ever-so-popular "The Ship" by author Bjorn Landstrom. I used his illustration of Saint Louis and two other references to complete the build. So detailed was this plastic kit that those who visited wanted to purchase it. I enjoyed it for a few years and finally released it -placing on hold my ambition of completing the "Airfix Trilogy".

  

Upon releasing the SAINT LOUIS to an area businessman/collector, it would be 41 years before I would, again, get the opportunity to finish the 'trilogy'. Last year I searched every corner of the internet for a vintage H.M.S. PRINCE model -having finished both ROYAL SOVEREIGN (Sovereign of the Seas) and the Airfix WASA. Those models were gifted to me by a local woman whom father took ill and recommended her to locate and phone me of his inventory.

At first I didn't see the total picture of the acquisition until I finished both kits, then the revelation came. It was the appointed time to engage the trilogy again, applying to it the new and updated skills I developed. Both SOVEREIGN and WASA was well received via the internet; and of those few who witnessed the builds in person, the expression on their faces became the testimony. It was then that I knew the trilogy was an assignment to be completed.

The above photo is the Airfix Classic Series H.M.S. PRINCE that I received last year.

 With anticipation, I carefully opened the box and studied each piece - writing notes concerning what I would keep and/or discard in the build. I also evaluated what wooden replacements would be handmade in place of those pieces discarded. However, before the build was to begin, I had to copy my former projects SOVEREIGN and WASA by way of preparing new rigging diagrams.

Here, I correct notes to update rigging. I studied various Prince models, both museum and professional  -including kits...finding that additional lines were omitted for the sake of clarity. I have always been thorough in research and build. This newer PRINCE was no exception.

I had the good fortune of building two PRINCE models some years ago (from scratch); one a large cutaway and the other a 1/16 scale miniature. In the miniature I applied minute detail that invited  serious collectors of which it was finally released to a Texas businessman whom eventually commissioned other miniatures to compliment his collection.

                         Working the large scale 1:12 Prince Cutaway during my early years.

                                 Detail closeup of miniature PRINCE fully rigged 1/16 scale.

The next photos show the process of how I address the hull. It's time-consuming but well worth the investment to carefully assess all the pieces of the kit. I noticed the deep grooves that was supposedly meant to highlight the planks; but it's vital to know that no such grooves existed on these vessels. Planking was tight -and the same is true for the decks. The grooves are raised -and it would make for a more realistic, attractive model if the decks are partially sanded or replaced with actual wood decking. For these models I chose to replace the plastic with wood.

Below are two photos showing my application of wood filler to the grooves prior to sanding. Normal drying time for filler would be 24-48 hours before working the hull. During this time I returned to the blueprints to study and alter deck furniture arrangement, which included the stowed boats. The schematics would be rough drafts until I got more involved with the build; it would then require more  accurate details. But for the moment my focus remained on the drying filler. 

After the filler was dry (and sanded to the touch), a soft bristle brush was usedt absorb the debris  I blew away as I wiped in a front to back motion. This is best because it will give some idea as to whether or not another application is needed. The gunports were cut out during the drying stage as I held each hull piece with a paper towel. In doing this, hand oils are prevented from marring the surface -leaving it clean for smooth painting. As a result the paint colors are richer and look realistic with a patina finish. 

Beautiful is an understatement relative to the galleries of PRINCE. Of course there were a number of impressive looking British ships of those times, but because of the general population voting on this ship -based solely on visual perception, the Airfix engineers wasted no time perfecting this detail. And as such, I took it another step further by carving away the excess and added more by way of adhesives and parchment.

With those additions more detail was achieved by cutting away the gallery windows to later add acetone windows as shown in the supporting image.

The next process was for me to quickly go over the interior to decide what modifications would be worked first. I knew the bow had to be addressed. However the interior was equally important since I had to revise the gun barrels in proper scale to fit the ports...Past this, I moved on to the bow.

I would consider the bow the most challenging area of the ship, simply because more rigging runs there than in any other place. Much of the area is tight, but can be successful to rig provided it's not rushed; especially for 17th and 18th century ships. As for design details, I make every attempt to keep it scale-friendly. In otherwords, drafting figurine images/ deck furniture to use as a template for custom work. Below, I'm carefully routing into the plastic -imitating the detail that is featured on the museum model at the Kennington War Museum in England. Also, I've modified the figurehead with a few added details which appears in the second image.

On the issue of techniques...

Often I receive requests concerning my applications to both scratchbuilt and kit assignments. And frankly, I don't share that information because each artist/craftsman has a special gift that is solely unique unto that individual. I can't say this enough. It's one thing to clone a subject matter, but another to usurp one's identity to it with similarities.

I encourage potential artistans to find their own path and explore (with research) their own gift. It's easy.

Now that I've cleared the air, I move on to the next process which will be featured in 'Part Two' of this series. There will be unspeakable details that will alter how future modelbuilders will view this subject...whether it be from a kit such as this, or created from scratch. Whatever the medium, the subject will still 'float' the same. The name will still be the same. The only change will be overlooked details.

It's been a pleasure introducing this vintage kit that was introduced on the market nearly 60 years ago. There are still many unbuilt kits in existence which should be considered 'built' and viewed for enjoyment as they were intended. For this, I raise my glass to the early engineers and draftsmen who designed this model. It is, and was one of the masterpieces of the day and I'm fortunate to be able to bring it back as part of my trilogy to Airfix.

Thanks for viewing!