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.

 

H.M.S. PRINCE -The Airfix Modification...Part Three/ Rex Stewart

 This third series addresses deck layout, rigging and belay points. There is much to say on this subject, but from this above image, I need to say very little. In short, the information is out there...and can be very beneficial -provided time is taken to find it.

Many Prince models I've seen were rushed to ruin because the builder took on the persona of 'oh well' after realizing errors. This is why I'm adamant about careful study and what I research. If quality is the objective, then persistence and patience must be practiced at 'your' pace. It's 'your' model and 'your' perception on how 'you' want it to be. Whether mediocre or fine, the decision is 'yours'...and you must be happy with it.

During the 1980s and '90s many builders were in competition with one another to grab that 'spotlight' -especially in the arena of sailing ships. As a result, there was mass confusion about ships, their design, rigging methods, etc., etc. Even galleries climbed aboard to promote their 'superstars' until I arrived.

To that end, I faced opposition from all sides, but weathered those storms of vanity to be persistent in my chosen livelihood -with extended support from real experts whom provided me the jewels of their findings. I discovered a page of history unfolding because many were women.

This third series will not be about technique(s), rather about the process as to how I came about my findings -starting with the first images below:

As a rule of thumb I build my models by correctly scaling them; and making changes to kits that don't accurately have the pieces in sync with the build. This is done by drawing a figure to match the model's scale and the supporting items. Most of the time I find that I must discard these items and replace them with custom pieces to match what's on the template. By doing this early, the rigging process becomes less taxing.

The three principle areas of focus I consider for a build such as this are doors, stairwells, and railings. If these elements conform to scale, then everything else will fit accordingly. This closeup view show the doors, stairwell and railing system which I modified to give the appearance of a real ship. There's yet much to do...

Another closeup showing the quarter and poop deck stairs and bulkheads. The plastic windows were removed and replaced with acetate. The doors were tedious by way of removing; these were adjusted in open position with shaved basswood. I find that doors fully and partially open tend to be more attractive -bringing the viewer to it.

Port overview showing the progress of the main and quarter decks. In the Airfix kit limited grating was featured, so I improvised and made the grates for every deck except the poop -or roundhouse deck. I noticed this to be true for other kits on this subject; but the reality was that ships needed these grates to have ventilation -especially when engaging the enemy. The smoke needed a place to escape and the gratings were created for that purpose. Unfortunately, many modelers miss this...or choose not to place them effectively. 

This overview show the complete deck and grating system for PRINCE. 

Another flaw are admiralty type models which are used for a project's absolute...They are not 'absolutes' -they are study models.There must be an understanding what is meant by an admiralty model from this period. Like any ship model of this era, these were prototypes created to present the Admiralty a three dimensional schematic of what the ship might look like. It was not the conclusion, as features were added and/or dismissed during the actual build. Furthermore, rigging was at the discretion of the captain and/or ranking officer, so even in that area nothing was yet conclusive until the vessel went to its sea trials. This is where I encourage modelers to seriously study the basic rigging practices of the period and incorporate it before presenting the word 'museum quality'.

This is not a play on words; serious modelmakers know this.

Below is one of my notable woodsculpted dioramas that I created in the 1990s depicting "The Admiralty c.1660". Here, the Admiralty members are viewing a vessel prototype before it's voted upon for construction. Since that time I only produced two of these which were immediately bought -and since I'm working on PRINCE, I will probably produce my third and last diorama to honor the Airfix Trilogy.

The next views of the build highlight the detail to the forecastle. I studied many PRINCE models to make a fair assessment of the ship. Applying what I studied and researched, this is my conclusion. I noticed that there were no bitts shown at the foremast base. It's obvious that these were there based on paintings and drawings showing rigging leading down to that area. Furthermore, the conclusion of the matter lies with Vasa that was raised in 1961 and the restoration of both USS Constitution and England's HMS VICTORY. 

Bitts lightened the stress of the massive yards and sails -which occasionally had tackles to assist. However, the bitts and knightheads (part of the bitts system) had to be reinforced by way of the deck and not the rail. Again, the admiralty model did not serve its purpose here because I strongly believe it was only emphasizing possibilities. But based on the evidence of Constitution, Vasa, and Victory this feature was essential.

Airfix Prince model looking forward showing enhanced detailing of the forecastle. The belfry was solid which was customized to include the brass bell. Both cabin doors are open so it can afford the viewer  observance of the open ports and cannon. On the forecastle deck behind the belfry are the bitts and galley stack.

Another angle from starboard...

And finally, a starboard profile...

This concludes the decking process on a much heralded kit from Airfix. What makes this kit worthy of build are the many variations one can do with it. Even if I were to build another, it would look entirely different from this; albeit probably one without sails.

The guns and boats are now the next step before addressing the masts. Below, are images of how miniature (and detailed) this will be. One gun alone with full tackle take about two to three hours; but, well worth the investment for achieving a quality model.

It's been a pleasure featuring this build up to this stage -and I hope the next blog will go further in depth regarding the tackle systems, rigging and other details that may have been overlooked in previous Prince models.

Thanks for viewing!

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!

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!