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!