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!

Sailing Ship VASA c.1628 -Modified /Rex Stewart

Here, we have the complete modified beakhead and stem of the Royal Warship VASA -based on Bjorn Landstrom's research and illustrations at the time the ship was raised from Stockholm's harbor in 1961. The book, itself, was published in 1988...being an invaluable asset to my build in spite of the criticism from various contemporaries.

In this second part series I focus on the beakhead and deck applications... Again,  museum quality model(s) can be achieved from the Airfix kit; but it takes an enormous amount of patience and concentration to bring the build to this level seen in the blog. Furthermore, it takes effective engineering and proper knowledge of Dutch rigging to make this a worthy endeavor.

There are no shortcuts...

The grated flooring of the Airfix kit was rather basic with limited detail. There were no openings for the gammoning or tack leads. So to compensate, I traced the kit version unto basswood -cutting out the outer frame and gluing small miniature slats across to serve as gratings. It was tedious and time-consuming; yet very gratifying after two attempts.

The grated flooring finished and installed...

After the beak's flooring was painted, I went to work on the forecastle bulkhead -modifying the entranceways and replacing the plastic doors with wooden ones (as seen below). But before that was accomplished I scaled down the Swedish Coat of Arms that was featured on main deck rail system (as seen above). This small detail would be the highlight of the bow.

In this image the viewer is shown modified doors, hull stem for sprit mast, and companionway steps.

All information provided by historians is based on the limitation of information. Meaning, we work at what level of truth is evident for the period researched. There are no absolutes, only findings that are probable and concise...And yes, mistakes can be made with research; and a real historian will puth the facts put there and not allow politics to corrupt and/or pollute it. I follow blueprints (and even produce my own) which stem from the blueprints established by others.

Bjorn Landstrom book is a landmark study of the VASA; yet, in some areas he flawed. However, in most areas he shined and that's where many miss the mark.

The next three images will show the completed beakhead and the frontal piece of the forecastle...with some additional details such as the small ladders leading down to the grated flooring from the port and starboard doors.

Closeup detail of VASA figurehead in goldleaf...

Port beakhead overview...

Bow starboard frontal view...

The next step of the build/modification are the decks. These must be carefully planned in both layout and fitting. Also the right scale for the grating, knight, bitt and bulkhead locations are very important for the overall appearance. Furthermore, the rigging has to be considered relative to spacing on the deck and pinrails. There must also be room for cannon to be run in and out by the tackles, so the grating must be scaled to compensate this.

The below image show the new reconstructed deck in comparison to the kit's feature.

Proceeding further into the build, I arrived at this stage of the deck layout

Subtle starboard view of deck looking forward...Notice the 'sweep' as was typical of the Baltic State ships of the period.

As I build my eyes are continuously searching the model from stem to stern. I try not to remain in one area too long, as this will cause neglect and missed detail to other locations. Sometimes my best corrections are when I apply this process.

Working with guns command ongoing attention because it is the main feature to any fighting ship. I could never understand a model with all cannon run out on either or both sides. It doesn't seem realistic -or authentic. In this build I place the gunports in various stages, re: closed, partially closed, partially open, completely open...Along with the flags and sails, this is another one of my signatures that distinguish me from my contemporaries. Below, a waterline image that show the varied gun stages on VASA.

Below, a profile view of the opened gunport variations...Notice on the ports and hull how realistic these features appear (under diffused lighting).

Sixteenth and seventeenth century ships has to be some of the most beautiful  vessels to model...and I've done both. However, my line of work is extensive which cover ships and vessels of all periods. But these two centuries are special because it allow me to go all out with my carving and sculpting skills...Furthermore, I can appreciate the intricate workmanship of those artists and shipwrights who illustrated, designed and carried forth the artistic mastery of that time upon their vessels.

That being said, I now present the last two images of VASA's stern galleries to close out 'part two' of the series.

There is more to address within the ship's interior before stepping the masts. I can only hope the seasoned builders will make good on their 'stash' as they call it and not let those kits sit idle. And of the collector(s), I encourage you to acquire these as they are valuable when modified. The detail is 'there'; it's a matter of choice to how much correction in the detail is preferred...because beauty is in the eye of the beholder.

These last two views show the completed stern galleries of VASA...It is believed that her topsides were red, but there were no evidence of that based upon Bjorn's writings on the subject. What little evidence he wrote about claimed that there were traces of blue pigmentation and gilding. Of colors, some pigmentation were found inboard around the bulkhead doors and interior walls of the cabins. Climatic conditions, sealife and water corrosion took its toll on the vessel...so much of the color had to be derived from master painters of the period. And even in that, not one painting in any museum show red topsides.

With that in mind, I now close this segment of the build and raise my glass (honorably) to Bjorn Landstrom's legacy. This will be a fine study and a most memorable model when finished.

To view my credentials and other fine work(s) please visit https://www.linkedin.com/in/rexstewart and https://youtube.com/c/RexStewartoriginals.

For information concerning commissioned work call 1-774-757-7137 or write for details at: Caseships@yahoo.com.

Thank you for viewing!

VASA -The Swedish Warship In Modification/ Rex Stewart...Part One

                       Airfix Classic shipmodel kit of VASA showing finished bow modification.

It is a beautiful thing when people can appreciate your work to the extent of purchase -and then call or write about their satisfaction years later...followed by the continued support of their siblings. Such patronage is priceless which only encourage better and greater work.

For me, it was never about money; it was about art and engineering -with the skill to produce fine art in everything I touched...Money was (and is) the reward for honesty in what I did, and for what I continue to do. Nothing more; nothing less.

In this genre of ship models, I am a humble man. I painstakingly study a vessel. And for the most part draft or re-draft plans based on my findings. From these discoveries, I incorporate them in my models -whether scratchbuilt or kits. The majority of my pieces are scratchbuilt. However, I occasionally (by commission) modify kits to give the the same quality as my scratchbuilt pieces -and upon sight, one cannot tell the difference; which doesn't condemn what I do, but place it at another level..

Collectors enjoy my work and purchase (at times) in multiples...only because they need to view them to compare the quality; hence, a collection is born. And it doesn't make a difference whether it's wood or plastic. It's all about the skill and ability behind the work(s) that bring the human eye to it.

We now begin 'our' beautiful journey to the thing people can see and appreciate...

I began purchasing Airfix kits in the early 1980s. There was something about this product that drew me to them (the ships). Of course they were plastic -as I had not yet became prolific with wood models. However, that gradually manifested when discovering the history of the Hudson River steamboat. In this image VASA was one of the first kits I bought to indulge my curiosity of its contents -after reading Bjorn Landstrom's book "The Royal Warship VASA".

Both book and kit was purchased from the sale of my colored pencil drawing of the WINSTON CHURCHILL shown in the photo image below.

My early pencil of the training ship WINSTON CHURCHILL...the drawing which purchased my first Airfix kit, VASA.

Every beginner or journeyman that starts a kit often becomes intimidated by its contents and usually shelf it without giving thought that the motivation to build is real. The pitfall is the many pieces viewed upon; the 'win' is the confidence in studying the pieces and establish a plan as to what will be addressed 'first'. No one builds the same. Everyone has a standard they follow; and if that standard produces an untarnishable satisfaction to move on to the next project (after completing the first), then that beginner and/or journeyman has now established the hobby and/or career.

When I look at the hull-halves and stern, I already know what need to be addressed. Kits have flaws -period, and one shouldn't be discouraged by them. Building should be the focus with the expectancy of error. I realized the VASA' hull needed work and appreciated the fact I could add my own signature to it. This is what makes a project exciting, the fact that it's your signature and not a copied style.

Artist - historian Bjorn Landstrom became my motivation for individuality as an artist-craftsman; and ultimately, a historian. I was drawn to his books during my youth because his references were paramount from that which I studied in the Albany school system. It was his first book "The Ship" that captured my imagination of the maritime. And as the years passed, I inquired and acquired his publications to learn more indepth how these vessels were constructed.

His last book "The Royal Warship VASA" was the book that changed my perspective on ship design and modelmaking. I studied the details (and rigging) which helped me to correct his applications   -based on another author from England named Percival Marshall...He, too, was advanced; but Bjorn was key to my detailed work which centered around his findings from the actual ship.

With my experience as a fine artist/craftsman, I knew my calling in the American maritime was eminent, though it would be met with opposition. However, I dealt with it successfully and continued on because of Bjorn's writings.

As I assessed the VASA kit, these two supporting images show the early stages of the build.

I begin by marking the hull below the waterline -down to the keel at the points where pins will be inserted. These pins are temporary until the cradle is made to support the actual pins that will permanently secure the model to both cradle and display base.

The second image show the hulls clamped to align it (and its markings) to the custom foamcore.       
This foamcore base will be the workbench for finishing the model from the deck -upwards; making it easier to address the sails and rigging without physically touching those properties.

Notice the exposed ribs on the roundhouse deck above the stern galleries. This wasn't on the actual ship when raised, so that feature will be carved away during modification.

Here in this starboard profile, the hull is modified from bow to stern. Many features were altered and/or changed to conform to the actual build. Other features were added that was commonplace for 17th century ships.

Before and after photos showing the enhanced galleries and gunports. The gunport lids on the model were raised and weren't flush with the hull, so I cut away the ports and followed through with the plastic lids because of the lion carvings. The wood lids replaced the plastic ones -so to lend more realism to the model.

Quality and detail have always been paramount to my builds. The interior is no exception.

Here, I place wood decking only in areas that will support the cannon(s). Instead of gluing the plastic guns into the prefabricated sockets from the kit,the ports are drilled (and cut away) to house the cannons...This affords the opportunity to have guns at various positions to make for a lifelike model.

These are the exquisite details collectors watch for.

So that wood bonds to wood, I show the custom made cannons which would better serve the build as a permanent fixture. Plastic has the tendency to dry out over time as I have witnessed when restoring plastic kits for clients. The cement was brittle (due to various climatic changes)...and for the most part I discovered those models were placed in direct sunlight or high heated areas.

It's best to get good quality resin glue for wood and replace plastic items (when possible). Many models have stood the test of time because of this procedure. Resin can last for years without decaying or drying out.

Every artist has his/her style when painting a fine piece. There are really no standards to follow except for personal intuition. While some techniques work for some, it doesn't work for others. I learned this early-on during my youth. Art teachers, and then art professors, would attempt to persuade my values to the point of 'crossing swords'...I vehemently encourage any who have a unique way of achieving the same end with better results, to stay the course even if compromise will fail you.

That being said (or written), I find that kits should be examined carefully before purchasing any paints to address it. Brushes should also be a factor in the application. Every artist/craftsman has a certain preference for bringing out the best quality in their work. If this wasn't true we would not have variety!

Here, I paint the fine detail of the galleries while the hull is still in progress... I paint as I assemble; not pre-paint. The reason for this is because correction has to be made -and parts can occasionally be warped. These problems will always exist, and it's better to mentally prepare for these snags and not assume perfection at first glance.

The finished backend and starboard side stern galleries...

With the backend and starboard galleries finished, I now work on the portside of the hull. My focus is on the gunports and the arrangement of those which were open on that day. Since it was wind that sank her, and reports were given of water being taken in on the lower gun deck, I tend to lean on the fact that buoyancy was the issue, not wind....From documents (which much disappeared), it was duly noted that VASA did have her full armament that day. And since it was a trial sailing, it is safe to place emphasis on the guns being secured at the ship's center for buoyancy; but not enough buoyance to keep her afloat since there wasn't enough on her keelson... But that can be disputed when viewing the English ships.

Now that both halves have been painted, I proceed with converting the plastic deck to wood - rearranging the entire layout to conform with the settings. Even the ship's sloop will be re-designed to emulate the actual sloop at the Vasa Museum in Stockholm.

Basswood and/or cherry are the choice woods for these models, as they lend to the elegance of their appearance.

The next stage of the build will focus on the beakhead and hull in Part Two.

Kits should not be played down as being something of a hobby or pastime. These can be professionally modified to become museum pieces and collectibles, or both. It's really the level of quality that determines the build. As a professional I have endlessly proven this for years. So now there is no excuse to belittle kits (as I have witnessed in several forums). Flaws are everywhere and can appear when least expected; but, with a openmind and keen eyes, flaws can become 'flawless'...with patience.

For those who enjoy this type work and have kits to be modified -or wish to have one built from scratch, kindly contact me: Caseships@yahoo.com. For more information about me and what I do, please visit https://www.linkedin.com/in/rexstewart/ and https://youtube.com/c/RexStewartoriginals

I now leave you, the viewer, with those thoughts and look forward to the next blog on this subject of VASA c.1628.