British Warship HMS Prince -Art Of Modification/Part Five

 

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

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

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

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

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

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

In future photos I will show this detail...

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

 

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

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

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

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

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

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

Thanks for viewing!

  

 

 

Swedish Warship VASA -The Finale/ Rex Stewart

The finished Vasa model -shown with full sails in the appearance of what the ship would have looked like had it not sunk. After seven months in this build, I finally was able to get all the minute details.

As with all my work, past and present, there is a sense of accomplishment that's difficult to explain. If so, it would have to be in book form...if that's possible. I don't know. But what I do know is history is a wealth of information accessible to anyone who dares to explore it.  There are no limitations to it, just the fact that it's there for the taking.

When a subject comes to the general public, and it's marketable; that subject takes on a life of its own. From it are many variations and in most cases that subject is scrutinized. However, the point is to enjoy the work, not debate it. With that approach, true satisfaction is achieved and more works can (by choice) be realized.

This Vasa model is just one of 'many' models I've engaged over the years. No different from any, but a collection of all in various mediums and classes. This is one of my specialties as a historian-artist.

My experiences from times past is the anchor for my successful journey 'today' in the maritime arts... which also include ship models. And this Christian testimony is given to God's glory and not man's. However, from a social stance, I have been fortunate to connect with those of maritime excellence -obtaining information that would push His work(s) to a greater level of visibility.

And yes, we will have mockers in this business; but the fact remain that NO GOOD WORK will be hidden. That's an absolute that men have tried to challenge...and failed.

Here, I sit on the deck of the Dutch VOC replica HALF MOON looking over the original plans of the contemporary ship that Nicholas Benton and I designed in the summer of 1987. My involvement was the design of the topsides based on his trip to the Netherlands to acquire the data.

Below, the Royal Family sit before my accurate model of the contemporary ship which was celebrated at the Waldorf Astoria in New York City that fall of 1989.

After that celebration,  22 years later I was again commissioned to build another HALFMOON model at a larger scale to parallel New York's Hudson-Fulton Celebration 400...And because no one had the original plans (but I and Benton), the model had to be in exact detail to the actual ship.

Below, a large scale diorama I created depicting the Lenape natives advancing toward Half Moon that September of 1609 (at the mouth of the Hudson River)...The diorama commemorated the Hudson-Fulton Celebration as part of a downstate Ellis Island Exhibiiont which was commissioned by its curator, Dr. David Ostreicher.

Here, during the Hudson-Fulton 400 Celebration, Dr. David Ostreicher lectures about the Hudson River, the ship Half Moon (Diorama), and the Lenape Tribe in New York City that fall of 2009.

After the diorama project, I went on to explore the possibilities of building additional Half Moon  miniatures -along with other ships...such as Prince, Endeavor, Batavia, HMS Revenge, and others. Those sailing ships were interesting builds which motivated me to explore the possibility of enhancing existing kits through modification. And  with that came this current build which is now featured in this blog and added to the roster of detailed models.

There's very little I can say that hasn't already been said of this vessel and its history. So many  models exist that the beauty and design clearly denotes Vasa's identity. Therefore, the remaining closure to this blog will be the images of  'the finish'.

I raise my glass to the Swedish people for bringing the actual ship to the surface and providing professionals like myself the opportunity to study the history from a creative perspective. Furthermore, I'm indebted to the Dutch culture in The Netherlands for their input and support relative to providing me data forwhich my models have been based...That, alone, is priceless.

Now, I present these eight images of the finish...

As aforementioned, my sails are custom made of treated bond paper. These are antiqued over a five to ten year period so that I achieve beautiful folds while shaping them. There are no visible (if any) punctures in the material; and the rigging that's applied set these off nicely.

Below are two profile views showing the gracefulness of Vasa sails and how artfully they fall insync with her superstructure...One of the reasons it's one of the most sought-after subjects in modelling. Also, the symmetrical rigging (whether loose or tight) -draws the viewer to examine its properties.  For me as a youth, this was a fascination to view these lines at my local Boy's Club.

I would go directly to the clipper ship model at the entrance -being intrigued by it's rigging. There were no sails, just those awesome lines running through blocks and being belayed to the decks and tops. That, alone, sparked my interest to pursue the art.

The next two views show the lines and their complete belay falls which was one of the challenges I embraced for the purpose to have other builders engage modification. Anything can be upgraded to excellence, as shown in these images.

These last five images are profiles of a fine model in the Airfix Classic Series on WASA c.1628.
This was one of the best kits when it was introduced in the 1960s -along with the forerunner ROYAL SOVEREIGN, which was followed by the SAINT LOUIS c.1626.

This concludes the Vasa build; and I'm delighted you enjoyed the entire presentation. Of course there will be other Airfix models I will (overtime) modify.

As for those who have kits that wish to be finished for enjoyment and/or display, I can honor your request. Kindly email me at Caseships@yahoo.com or PM (private message) me at my Linkedin page https://www.linkedin.com/in/rexstewart. Other work(s) can be viewed at https://youtube.com/c/RexStewartoriginals

Thank you for viewing!

Art Of Rigging The 1:144 Scale VASA/ Rex Stewart

Here we are ...the second and final phase of this build -VASA's rigging.

In this segment the standing rigging, along with the tackle systems will be covered. For this, it is important to zone in on what's written concerning this process and/or area of build...I must have said this a thousand times over the years for builders (novice and professional) to not rush their projects for acceptance, but to evaluate (and re-evaluate) their research to make sure ALL the i's are dotted and all the t's are crossed. Especially in the rigging phase.

I have read several contemporary blogs regarding both plastic and wooden kits relative to the impossibility of rigging miniature models with the same amount of detail as their larger counterparts. That incorporating miniature detail to these smaller models (both in hull and rigging) would distort the scale -and that the quality would be compromised to those kits that were readily prefabricated. Not true, because the beautiful word 'modification' bring into existence, by way of research, the probability of achieving the best in any kit.

The first criteria to good rigging is good planning...

Here, I just finished a partial rigging table for VASA.

Rigging tables can be beneficial for both present and future use, especially when possible clients request a second or third build from the original. Every artist/builder has their own style and/or method that makes a work a 'signature'. A work of art that is easily identifiable by a discerning buyer and/or collector...Finally, since builders have their own interpretations, it is best that such information be safeguarded.

For years I have researched and re-worked rigging tables based on the studies of others and have discovered more details that have enriched my line of work.

After finishing rigging tables, sails are bent to how I want them featured. For this particular model I want to make the sails appear wind-blown. This will take a lot of engineering to make paper appear cloth-like. Also, to have the lines appear realistic in their fall/belay locations. Here, in the backdrop of the sails, I show a rough pre-sketch used to support the actual configuration(s).

Notice that all blocks and lines are added to both sail and yard(s). This procedure make it easier for the rigging process to move smoothly. One sail can take a day to produce and rig... Sometimes two to three days as shown in the photo images below which depict the main course sail.

Main Course Sail...front view.

Main Course Sail...rear view


Blocks and tackles...tackles and blocks -one of the areas of build I found to be most challenging (to the testing of patience)...In the image below, the miniature blocks and tackles illustrate how awesome a model can become. To make this happen I utilize my personal tools dubbed the "rigging chopsticks". These were made to perform a jeweler's style art to the rigging as shown in the two photos below:

Applying the blocks and silk lines using "rigging chopsticks".

In the above images, progressive results can be seen with the use of these sticks...and the detail becomes  'front and center' for quality. This instrument is not only capable for securing rigging lines (in perfection), but can also assist with the gentle curvature of lines in areas where it seem impossible to reach.

Billowing effects show the gentle curves on the spritsail edges and sheet lines. Also in the lower photo image, details are shown in a deck closeup of belayed lines and coiling-a result from using the "chopsticks".

Here, another angle showing sheet and tack lines hanging loosely to simulate realism.

Starboard bow showing the attached bowlines on the forecourse -along with the tacks and sheets. Once these lines are established, it is here where patience run its course... Again, the "chopsticks" come into play because none of the lines can be attached with tweezers without fouling existing lines. The long metal point of the sticks are thin enough to get lines through the small areas and be effective enough to secure them to their respective pins. Tweezers only serve to assist those lines.

With the sprit(s) and forecourse sails established (as shown), I now work my way to the flags.

In my most humble opinion, flags can make or break the appearance of a good model. Depending on how a model is presented, it is best to have the flags in unison with the sails. If sails are full and limp, then flags should follow the same pattern. If sails are in a slight or full breeze, then flags should be the same...And finally, when wind push sails back against mast(s), flags should be angled sideways (port or starboard) and/or flying backward. Wind pushing sails forward the mast, sails should be forward or angled sideways in forward position. Former servicemen brought this to my attention when I built commissioned kits during my youth.

This image show the paper flags provided by the Airfix manufacturer. These are not properly scaled for the model; so to correct this, I cut a smaller version and changed the paper thickness -applying the references from Bjorn Landstrom's book concerning his graphics and colorscheme.

Here, the new flags and pennant are fashioned as windswept pieces. By placing these flags on the masts (prior to finishing the remaining sails), gives a visual blueprint on how those sails will be bent based on the formation of the flags.

With the foremast sail and rigging systems in place, I now move on to the mainmast -using photo references to get the proper folds and bends of my sails before applying. This can be a long drawn out process since the sails are paper that can be easily torn or punctured. However, with years of practice, I've been able to achieve realistic settings concerning them.

In my prime as a builder, I studied Asian artists and adopted some of their techniques in my work to get a step higher with miniature projects -especially in the genre of sailing ships. I realized that silk had properties that would later fit into my rigging concepts -and that chopsticks and sandpaper would serve to bring about the very detail I was expecting in ship modeling.

Viewing the images below, the point is proven as I address VASA's mainmast.

In the four above images the main course and topsails are installed...shaped to display a billowing effect in those sails. The last image show the lines secured to the knights and pinrails on deck. These are also secured in the tops to fulfill the assignment of a complete rig.

At best, the latter half of the rigging process is the most difficult because the lines are much tighter together. This is one of the reasons the rigging chopsticks is an invaluable and exceptional tool. I can get immense detailing with it...So now I continue with 'the finish' of the main mast and move on to the mizzen -beginning with the lateen sail shown in the image below.

 This now finalize the last phase of the rigging.

The next blog will feature limited photos on the completed model based on the late Bjorn Landstrom's book "The Royal Warship VASA".  The build has been interesting, to date, because the book brought in depth study of how the ship was built. That, coupled with my research on her rigging made this a unique project of note. So now I close being satisfied that I can encourage other builders (whether hobbyist or professional) to study their kits and make the best of them.

I an not in the business to 'compete'...Never have, never will. My purpose in the maritime is to give insight into the world of shipmodels and take place it on a subtle plateau of visibility so that others can be encouraged to take it to another level of excellence by their choosing.

As for those who have kits that wish to be finished for enjoyment and/or display, I can oblige this. Kindly email me at Caseships@yahoo.com or visit my Linkedin page and supporting youtube page at https://www.linkedin.com/in/rexstewart/ and https://youtube.com/c/RexStewartoriginals . I can also be reached at 1-774-757-7137 for details.

I now leave you, the viewer, with these thoughts and look forward to your next visit on this subject of the Swedish frigate VASA. Fair winds!