H.M.S. Prince c.1670 -The Art Of Modification...Part Two

 As I sit here writing I can't help but to think how interesting my childhood was. I was adventurous and explorative. Always wanting to learn -whether from the classroom, the diverse community, or television. But the foundation of it all were my parents; primarily, my mother. In her was this immense wisdom that I later found in most women -and that ultimately put me over the top as a man, artist-craftsman, and father.

As such, I embraced history with an open mind -pushing away biases that was the pitfall to limited thinking. Instead, I absorbed every aspect of my profession down to the smallest details and embraced many, many cultures that helped it along...because in those cultures were missing pieces that made up what is viewed above -beauty.

In my early post on this subject I wrote about technique and staying in one's own lane. This principle I will continue to hammer home so that it will become evident (and fact) that we ALL have a purpose through the things we live and experience.

In the above image is the next stage is applied relative to taking plastic and simulating it to appear as wood. Yet, there are wood components in certain areas of the build.Al 

In this photo, natural wood components are seen -such as the interior deck props. These were fit in various locations to take on the wood cannons I made for the open gun ports. But prior to this I had to evaluate certain details and relocate them to their proper areas such as the deck furniture and bulkheads. The kit, though finely made, had issues which was unavoidable such as warping and mast displacement. Other factors included the bulkhead details such as adding to the carved pieces, removing windows and doors; and, substituting actual wood decks to take the eyebolts.  

The deadeye channels were no exception, they were completely replaced and knees which I hadn't  seen in any models. Knees were essential for strengthening the channels and lightening the stress when taking on the shrouds. At the fore channel such strengthening was mandatory when carrying the large stowed anchors.

Another missing element that I considered were the skids and/or fenders that were located amidship which ran down the side of the hull to the last wale at the waterline. These were very much part of the naval design -not just for British ships but for most seafaring nations. These skids and/or fenders prevented the boats from damaging the hull when being hoisted from and lowered into the water.

A closeup image showing the much notable skids/fenders. Also, notice the trunnels and planking about the topsides. This was done with a special pencil -one of the primary tools I use for both my models and dioramas. Every artistan have their arsenal of special tools needed to fit their line of work; and no two artists are alike because each use their tool(s) that are comfortable for his or her purpose. This is what makes work(s) 'original' and not a 'hard copy'. I encourage every novice artist/builder to explore materials and use them faithfully...because at the end of the day, the result will be yours. That advice you can take to the bank.

Research is beneficial at any level. The more study placed in a thing, expect better results!

I have invested countless hours in what I do and seldom keep logs. This current project is no exception. 

Usually I take my time (days or weeks) to scrutinize certain parts of the build before moving on to other areas. I will study other areas in preparation, but will refrain from touching anything until that particular space is finished -leaving no options to rework. This approach eliminate frustrations in the long run.

With the outside of the hull finished, I move on to the galleries. The windows would usually take a back seat until the lanterns are addressed...and yet, there are times when I would ignore the windows and move on to the interior work -such as the deck and cannons. The below images show the finished galleries.

The paints applied to this (and all my creations) are not straight from the jar; they are custom-mixed. Even the gold are applied in several variations -and gold leafed in certain areas for highlight. This process can take several weeks through experimentation.

To add better detail to gunports I work the lid ropes as shown in the following three images...

Next are the cannons which had to be scaled properly. The kit provided pieces that did not fit the overall appearance of the model. So, by trial and error, I made them from wood and secured them to wood platforms. This was followed by installing decks to cover the cannons and working up a template to make bulkheads and supporting deck furniture align correctly. Another set of photos support this below.

Viewing the image, the carriages and cannons are mounted below decks and the main deck is prefit to duplicate in wood. Also the plastic cannon/carriage are assessed to evaluate whether or not scaling is needed. The following photo show the conversion from plastic to wood on the quarter deck...

On this deck I relocated the grating as it is too close to the mizzen mast/slot. I noticed on various Prince models, this grating was omitted. It was inevitable to have these for dispersing smoke during cannon discharge.-especially since there were ten cannons within that enclosure.

In this image the main deck was also revised. It was here where I realized the scale of the guns were off relative to them clearing the bulwarks when being run in. Also the grating had to be slightly widened to support the boats without compromising the cannon. There was no room to place the grating that was supposedly behind the mainmast. In the plan drawn by noted British engineer Percival Marshall, no grating is shown.

Here is the scaled template I drafted to use throughout the build. The small markings on the side is the spacing of the shroud's ratlines in proportion to the crew members. There are more ratlines here than on conventional models

Another overview showing two separate templates for the build within the main deck waist. The lower template show the revised cannons in both run out and recoil position which has enough room to clear the bulwarks and gratings.

This conclude Part Two of the modification. There is much more to study before I move forward on this. However, from this assignment, I have come to learn more. I realize 'today' that Airfix models are a professional type model that is intend for those who are patient in the build for a museum type model of quality. There are many possibilities with this kit...and the plastic is of good quality to make changes that suit the builder.

Pieces are very small and to replicate them in another medium does require some skill. The drawback is missing pieces that can place a build 'on hold'...But for the experienced novice/professional, such parts can be customized.one can alter to be museum quality.

There is another factor that is overlooked with Airfix models; that is the scale. The company was precise in it, but the issue came up in debate on forums because builders couldn't match the scales based on the information given by the company. With a little investigative work I found that certain areas of each kit were either over-scaled or under-scaled. To alleviate that problem I picked two areas on the model that balanced in scale and reworked the entire model.

The two areas I studied were the steps, doors, and gun ports. I then made a crew figure template with additional deck furniture (to that scale) -giving me the precise measurements for all the fittings throughout the model. This procedure upgraded the Airfix kits to be a perfect 'one of a kind'.

There's not much more I can write on this blog segment except that we're in the midway process of the build. I appreciate your viewing this and will conclude the hull factor in 'Part Three' before moving on to the rigging. 

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!

Sovereign Of The Seas - The Art Of Modification...Part Three/ Rex Stewart

A closeup view-  Sovereign of the Seas forecastle deck, foremast and rigging lines...

Working with this vintage model from the Airfix series is the perfect kit for assessing SOVEREIGN's true structure relative to gun arrangement and layout. Many features throughout this build had to be altered to the degree of scale, guns, gratings and belay points...For a fighting ship there had to be enough space to move around the guns and rigging. Also, the rigging had to be clear of the guns in order for them to operate properly on their carriages.

I noticed the bow chasers on the upper forecastle were positioned four across. Based on the structure of the catheads (and the stepping of the foremast) there would have been no room for these guns to recoil. The mast, alone, makes it evident that only two chasers were there, not four. The falcons (port and starboard) are correct.

On many models I noticed there are no galley stacks. Why?

Meals were prepared forward of the ship, therefore the stove was located somewhere on the second or third deck above the waterline away from the crew.

I did not see any kit or institutional model feature any open companionways for the crew to  have immediate accessibility to guns and/or rigging prior to battle or weather conditions. Because of these factors I just didn't want to build 'another' SOVEREIGN; but have one that was a study model showing authentic deck layout and rigging of the period...Not by assumption or speculation, but by fact.

Before proceeding with rigging of the foremast, I had to concentrate on the anchors and how they were secured to the channels. Airfx anchors were perfectly scaled and correctly matched the channel length for stowing. However, the channel width was too narrow to house the anchor's bill so I had to widen that feature. This also helped to avoid having the ratlines touch the rails on the forecastle.

I kept the bill but modified the stem and stock as shown in the above image.

For my references to the anchor area I used both artist renditions from Van De Velde (the elder) who lived during that period and the contemporary illustration of artist Bjorn Landstrom. I considered these two sources very credible -based on my 40 years of maritime research.

Here, the anchor is stowed which give room for the second to be stowed and lashed properly as illustrated in the above Van De Velde drawing. Notice in the rendition a system of complete gratings covering the gun decks...In reality the system NEVER existed because it would not have given the crew leeway to operate the rigging for the sails. Furthermore, you have capstans which were essential for hoisting the large sails and yards; not to mention loading supplies and dispatching the boats.

It's difficult to fathom many builders ignoring those facts and succumb to so-called historians with their theories based on artist renditions and/or paintings. To make my point, view the contemporary illustration below and ask 'how' the crew was able to get past the gratings to be on deck to trim the sails? The stowed boats dictate grating could not have been present except on the spar deck where the spars are shown! Why won't modelmakers and historians 'do' the homework?

It took me 38 years to bring this truth to bear!

Contemporary drawing created during the 1980s that raised my suspicions at that time relative to the rigging factor and how it clashed with the reality of operational rigging systems. Also the contradiction of painting the topsides 'blue'...stealing the identity away from this ship when it was probably used as the color under the rule of King James when the PRINCE ROYAL was built in 1610. Under the son, Charles I, his ships carried black topsides.

Now, back to the rigging...

Before actual rigging is done, I first address how I want the sails to set -based on the wind setting. I find many models interesting because the builder presents to the viewer his or her view of how the vessel is operating -whether in calm waters or rough seas. Most don't understand that this small detail is the essence to good model presentation -on all levels. However, imagination is the key.

In this image I sketch out the sail from the same paper stock that these will be made from, keeping in mind that I'm focusing on wind movement (first), then on how the rigging will set based on that movement. The image implies that the sail is being let down by the bunts, keeping in mind that the port anchor is being lifted for stowing.

After the sail is drawn, it is cut out and folded to match both the indents and folds where the lines run which include the attached blocks. This add realism to the masts; but the rigging must be engineered in such a way where the lines can pass through the blocks without fouling or getting twisted with other lines. This process is tedious and must be planned ahead of time before securing the sail to the yards. And as shown, the yard is above the finished sail awaiting attachment.

The below image show the sail and yard concept as one unit, and the detail of those lines pre-arranged for the next step of rigging. It all looks complicated, and technically it is; but with practice everything will start to flow and balance...giving an effective result.
                                                                                                                                                                 

The next two images show how beautiful and effective the rigging process is when the completed sail has been attached to the mast. All other remaining lines are then attached to systems at the fore and aft points on the model...Concentration is 'key' so not to disrupt or foul existing lines -and the eyes must always focus in every and all directions during the build so not to ruin work that's taken weeks or months to accomplish.

Two views showing the main course attached and rigged to the mast with lines falling to their respective belay points.

In my study of rigging , I noticed 17th century ships had basic lines for their large ships that were universal. These were lines that contemporary models omitted or used randomly. Some lines were not present because of confusion to their leads and falls. These were bunts, martnetts, relieving tackles, bowlines, and top ropes. Other details were various stay designs between the main and mizzen masts -and tackle systems that assisted in relieving the strain of a line when masts and yards were hoisted or lowered.

In my calculation there must have been 50 - 60 tackle systems operating this ship (and other European ships of those times, re: France, Holland, Sweden, Spain, etc.)...

Coming upon the last leg of the build, I studied the Van De Velde painting in the National Maritime Museum at Greenwich, England. I noticed the complicated mizzen stay systems of the top and topgallant masts. I had to decide how to approach it on such a small model at 1:168 scale. Below is the procedure and the following photo, the result.

The procedure...

The result...

On a miniature of this size, it is important to have the stays in place before completing the final segment of sail making and rigging. The most challenging part of this process is rigging the braces and bringing them down to their belay points without destroying the ensign flag. This is very tedious, even for the expert...and it's based upon the seriousness of the build.

In this particular image, I address the running rigging of the lateen sail. Since the model will show the sails taking in the breeze, I gently billowed this sail to show this effect without over-exaggerating the realism. In the background is the vintage thread used for the boltropes seen around the sail and the cake of beeswax used to preserve the threads from rotting.

The finished lateen is now ready to be installed...

The final diagram review of modification and corrections before completing Sovereign of the Seas.

Nothing can be more rewarding than to lose oneself in the annals of history and rediscover roads that others have trail blazed. It is not a put down of any individual's work, but rather an opportunity to study and enhance what's already been without ruining a finding based on pride. I have always honored those who opened doors to truths that many have ignored. Always wanting to know 'more' about a thing and not settle for mediocrity.

I am thankful for all those who have built their SOVEREIGNs before I was to actually build mine. All were helpful with my assessments and evaluations to a ship that held unanswered data that brought me into the fold. And because of these individuals, I better understanding for the traditional shipbuilding methods of the period.

No man's findings are absolute, but in those findings there will always be purpose; and that is absolute.

I now depart from this blog to prepare the finale. Thank you for taking the consideration to read and view the images!

For commissioned work, whether scratchbuilt or kit modification, please send your requests to Caseships@yahoo.com. My profile page can be viewed at https://www.linkedin.com/in/rexstewart. Videos representing my recent works can be viewed at https://youtube.com/c/RexStewartoriginals


A special note:

Some of you have kits that you want to enjoy...not having the time (or being delayed) to complete -or build them. In my line of experience, I can modify your kits to be historically accurate in fine detail -and can safely package and ship your gem globally.

The contact information is above.