The Slipway News - MAGELLANO.ORG · l Building Le Gros Ventre: Construction starts: Axial Frame. l Technical File: e Rabbet by Guy Dubois. l View of things to come: Frames . . . by

Volume I - Issue II - April 2004

In this Issue:l Work progresses on the model by Vincent Davenas.l Building Le Gros Ventre:

Construction starts: Axial Frame.l Technical File:

e Rabbet by Guy Dubois.l View of things to come:

Frames . . . by Dave Stevens and Jean Paul Bour.Hawse Timbers . . . by Jean Paul Bour and Eric L’Emaillet.

l e Magellano group:Presentation of the group.

l Gallery of the models of the Gros Ventre in the course of construction.

The Slipway News

hips from . . . . . TIMES GONE BY . . . . . .

lipway ews 29

Editor’s Notes

Dear participantsDear readers;

e first monographs were received around Christmas time, so for some, construction started in early January. ere were some changes in the number of participants; some have left but new ones have come in. e list and location map shown in the first issue will be updated in the July edition. So far we have 10 known models started. As for the rest of the participants, they are either finishing other work or have encountered some delays in starting. Hopefully we will have many more as the months go by……. Early in January, members of the Magellano Group in Italy joined us in this adventure and as a result, we are happy to announce that the newsletters are now officially available in Italian as well. is step which they have taken makes this project that much more special. From now on, this publication will be put on line simultaneously in the three languages. It is now the end of March and the construction is well under way. As most are working at their own pace, some choices had to be made as to the contents of the Newsletter; this as well as future issues. In the end, it was decided to stick to the original plan; the presentation of the construction of Le Gros Ventre in a detailed and chronological order. To confirm this decision one also had to take into account the length and periodicity of the publication as well as the time it takes to produce the documents. As a result, this issue will concentrate on the early stages of construction. ere are and will also be parts included which will look at steps going forward into that chronological order, steps which I hope will help the builders gain some understanding and comfort in the work ahead. Also, it is to be noted that no subject will be closed because it has appeared in one issue of the publication or another. Participants who will eventually start working on their models will be strongly encouraged in sending in their tips and techniques as well as updates on their work. ese will be added in upcoming issues as continuations of published articles. Remember, this documentation should be as complete as possible.

is as well as future editions of the newsletter will follow the format set in Issue 1. We will of course try to improve it as more and more participants get involved. You will notice that the page numbering is somewhat unconventional as it is a continuation of Issue 1. is system will, I think, facilitate the indexing at the end of volume 1 which will represent the year 2004. 2005 will appear as Volume 2; the page numbering will then start at one again.

Again, thank you all for your support and participation. Enjoy……

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lipway ews 29

Construction update on the model built by Vincent Davenas…

e stern is simple but elegant.

Looking aft, note the master’s cabin at the back of the quarter-deck.

e quarter-deck breastwork is in place. e belfry equipped with its bell. Note the small capstan’s

leaded top.

A view of the head and rails.

e front of the quarter-deck and the outside wall of the ship. Note the closed gun ports.

http://perso.wanadoo.fr/gerard.delacroix/gv/gv_1.htm

lipway ews 30 lipway ews 31

� � � � � � � � � � �� The construction of the model:

From the study of the plans to display

art onee axial timbers ~ Cutting of the Keel, Rising-wood and False Keel:

#1) e false keel is the only part which will not necessitate any further shaping except for its length. It is shown here at the bottom of the image.

#2) e keel is composed of 3 pieces; top and the 2 centre pieces on the image. ese parts are referenced as a, a’ and a” on the plan.

#3) e rising-wood which will be shaped to receive the foot of the frames. Referenced as g, g’ and g” on the plans.

e three keel parts (marked as #2 on the image) will be joined by a series of scarph-joints. You will notice that the first part (at the top) has already been shaped with half the joint.

SCARPH-JOINT: cutting techniques and tips.(By Gerard) e cuts are done using the scroll saw (classic method of gluing the plan on with wallpaper glue) then using files (half round and square for right angles). e finishing is done with fine grit sand paper mounted on a wood strip of 2 or 3 mm. e main difficulty is to not end up with any rounded edges or cuts. (By Patrice) I use a small band-saw and finish with a diamond file (I have several with different grits). I file with the grain to keep the edges straight. We usually work the wood cross-grain, but for this, it is done with the grain.

As we will see, these joints will be frequently used in the course of the construction of our model. ere will be a number of them to assemble the parts of the keel, stem and sternpost.

As far as nailing is concerned, we can proceed as follows: 3 long nails in the mid section and one shorter nail at each end.e representation of the nailing is of course a choice for the modeler to make as these will not show in the completed assembly.

It is important to note that at this stage no permanent assembly is taking place.


Before the next step, it is necessary to cut a mortise which will receive the foot of the sternpost. e cutting technique is not complicated. e photo, left, shows the tools used for that. It is to be noted that every modeler has his own technique

to do it. We can also note that it is really a double mortise; one for the tenon and the other, shallower, in which the sternpost will be laid in.

ternpost – inner sternpost – false sternposte stern post (center part on the image) is a long straight timber which rests vertically on the aft part of the keel. It leans slightly backward and is secured to the keel by way of a tenon and mortise joint.It is complemented by the inner sternpost on its forward face (right on the image). e inner sternpost is notched for the fitting of the transoms. e false sternpost (left on the image) is simply nailed (glued) in place on the aft face of the sternpost. We will note that the width of the three parts diminishes towards the top but their thickness is constant; being equal to the keel’s.

onstruction method:ese three parts should not present any major difficulties in their cutting. As far as the notches on the inner sternpost, they can easily be traced on the lumber (according to the plan) then cut using a scroll-saw or hand-saw and finished with an x-acto type knife. is is quite easily done by working slowly and being careful. e tenon is worked following the plan’s measurements and can be cut by hand or with a small circular saw.

ising ood:Once the final dimensions have been reached, after sandpapering, then the measurements for the notches are transferred onto the part. e cutting out of the notches is done by hand with the use of a jewelers saw. At this stage, with the notches roughed out, they are then worked with the knife or scraper, taking care not to remove too much raw material. During this operation, the part is frequently checked against the plan.

A close up view of the mortise cut near the aft extremity of the keel is shown here with the tools

used as well as the corresponding tenon on the foot of the sternpost.


http://www.dlumberyard.com

Here is a sample dimensioned lumber necessary for the framing of Le Gros Ventre as cut by Dave Stevens and available thru the Lumberyard

tem – inner-stem and gripe.e assembly of these parts is a little more delicate to cut and fit together, as they are curved. e gripe is the part connecting the keel and the stem. Its final shape is the most complicated part of the forward assembly of the axial timbers (more on this a little later)……….e stem is composed of two timbers joined by a scarph-joint. e technique used to cut the joint is the same as previously explained. e difference is that the parts joined are curved which make the process a little more complicated. ere is not really a secret for the technique to use but being careful is essential. What would seem to work well is to roughly cut the shape of the part, and then the joint. Once the joint parts fit nicely by verifying it with the plan, then the final curve can be worked in, again making sure that the plan is followed. e first time it may be hard to achieve but a second go at it will usually be successful. e top of the stem is shaped to receive the bowsprit and this detail is clearly visible on the plan. As for the rest of the keel, at this point we will only cut and shape the parts without worrying about the rabbets for the planking.

In this image John Nelson is very busy with the fitting of the parts cut. We will note the notches on the inner sternpost.

(photo John N.)6

On the image above, another view of the tenon cut at the foot of the sternpost.

(photo Gilles)

6


e parts forming the front of the assembly are shown here. As previously indicated the stem is composed of two parts (right of the image), the inner stem (upper left of the stem) and the forefoot or gripe marked as “b”. e part on the left above the gripe is the forward extremity of the keel. On this image we will note the scarf-joints which tie the parts together.e inner stem which will be nailed to the stem is also joined to the rising-wood (not shown). Half of the scarf-joint is shown here on its lower part.

(Photo Steve O.)

Close up on the upper part of the stem. (photo Gilles)

below: another view of the parts. (photo Patrice) e forefoot or gripe

e gripe is the tying part between the keel and the stem. Its overall shape does not present any difficulty in its cutting except for the extremities which are part of the scarf-joints.e major difficulty of this piece resides in the shaping of its lateral faces; up from the level of the rabbet. Its starting width is the same as the keel, but due to the rabbet as well as the shape of the forward frames, its width is reduced in its upper area.Here again, we will only work on the general shape of the part. e final profile will be achieved only after the rabbet has been cut.

e rising-woode rising-wood is composed of three parts (g, g’ and g” on the plan). ey will rest on the upper face of the keel. Besides the cutting of the notches in which the frames will sit on, these parts are simple to cut. It will be obvious that all the notches will have to be very precisely traced and cut.

As far as the preparation for the cutting, there are of course several ways in doing it:1) photocopy of the parts from the plan, cutting and gluing of these templates on a suitable plank, then

cutting of the strips.2) Measuring of the strips from the plans, then cutting. e tracing of the notches directly from the plan can

then be done (once the original strips have been cut).

e simplest method would certainly be #1, but here are a few explanations about method #2

After having cut the strips to the right dimensions, they are placed and secured against the plan for the transfer of the lines with a square.

tracing the notches on the upper face of the strips

tracing the notches on the lateral faces of the strips.


utting the rising-wood:Several techniques can be used. It can be done by hand, with the use of a circular saw or a combination of both.

We will note that from frame 53 (aft) mortises are cut in the rising-wood. ese will receive the tenon which is cut in the forward half of the frames. e realization of this detail is left to the modeler.

A butt joint is used to tie the three parts together.

Aft, the rising-wood is joined to the sternpost knee with another scarf-joint. Same for the joint with the filling piece (forward) placed between the rising-wood and the inner stem.

First step after tracing.

Cutting the notches on the lateral face. Done with the circular saw as the depth of the notches is constant.

Second step: cutting the depth of the notches using a X-acto type knife. is phase can be done using the circular saw. Here, it is done with the knife to avoid continually readjusting the height of the saw blade.

Result


tern post knee – part “” A question comes out from the reading of the plan about this part. Being of a thickness equal to that of the keel and stern post, 11 inches, are the lips seen at the top of the stern post knee to be added after the fitting of the first transom or are they an integral part of it from the start. Which would mean that the stern post knee would have to be worked from thicker lumber? From looking at the fourth photo in the series of images of the model by Vincent, it would seem that an extra piece was added to the top of the inner stern post and stern post knee to fill the space under the first transom. Question: Part “j” show two shoulders at the top and bottom; Should this part be cut from a solid block, or the shoulders be added. What does the profile look like. Gilles do you have a image of this part?

You can work the ends of the stern post knee in two ways. Either you have wood necessary and you can work then the extra thickness in the end or you adds deadwood on the sides of the knee. is method is simplest and most economic out of wood. e deadwood don’t have any mechanical function, they are used only as filling.

Well, the study of the plan and the making of this part started with a few questions.

Cutting of the contour without problem using the scroll saw for the rough shape. en cutting the notches for the frames and joint with the rising-wood was done using a hand saw. ird step, the joint with part “k”. en cutting of the inside top part including the curved area; done at the drill press equipped with a small sanding drum. And finally the aft

angle which was done at the disk sander. As far as the top to bottom taper: e profile was first traced on the aft face as well as the under face of the part. e taper was then worked using the belt sander, being very careful (fingers and angle). As noted above, the taper is only an approximate taper and it will be finalized at a later stage.

Another question about the part “J”: is it a one part piece that have a width of 50 mm i.e. in 1/48: 2m40. A little difficult to find a tree of such a strong dimension. Wouldn’t it be made out in two parts?

It is not difficult to find a piece of wood of this size to cut the stern post knee “J”. It is enough to take part of the tree trunk and a big branch which presents the good angle.

Cutting the stern post knee


Part “k” is a filling piece which will be placed between the rising-wood and the bottom of the inner stem. e notches will receive the foot of the forward frames.e cutting of this part presents only one difficulty; its lower face must precisely fit against the stem and gripe. As with all the other curved parts, one must be careful not to trim too much material off and proceed with numerous checks for a good fit. Generally the lower face is worked first then the notches are cut only once the joint with the other parts is right.We will also note that the upper extremity of this part corresponds with part of the joint with the lower part of the inner stem. On the lower end (extremity) we find another part of the scarf-joint which will tie in with the rising-wood,

On these two images, part “k” is joined with the rising-wood. e joint can be seen at the bottom left.

e sternpost knee is cut and in place on the keel. On these two images the rising-wood has been installed.e photo on the left shows the tapering of the part, from the top to the bottom. e cutting of this taper is not final as it will be finished after the installation of the frames and filling frames which will be placed aft from frame 63.

Maquettes&

Marine Ancienne

http://www.chez.com/rimbr


rofiled craper.e images and explanations included in this article were a contribution from

Guy Bubois, modeler from Toulouse (France).

e profile scraper is a tool which is fairly easy to fabricate. Its use in the construction of a model is essentially reserved for the cutting of the rabbet and making different moulding and rail profiles. Here we will describe the making of this tool for its use during the cutting of the rabbet. As such, it necessitates the addition of a small block which transforms it as a marking gauge.So here is how to proceed:

1)e cutting edge is generally made from a piece of metal cutting saw blade. After having taken the profile needed (from the plan), this information is drawn onto the section of raw material (blade). e blade is then roughly grinded or sanded down to define the height of the final profile.

2) e blade is then worked with a small grinder mounted on a rotary tool. is operation can be somewhat delicate, especially when dealing with a complicated profile, but by being careful and slow it should not present any major difficulty.Finishing is done using

needle files to obtain a good edge. In regards to this edge, we will note that it should be square for maximum effectiveness. A tapered edge looking like a knife blade will just render the tool ineffective.

3) e marking gauge: e addition of a small bock of discarded lumber will make the tool also become a marking gauge. Used in this way, the profiled scrapper will be easier to use in order to obtain a precise and constant space between the cutting profile and the edge of the part worked on. e block can simply be held tight against the blade with a screw which will allow for adjustments.

Tools and Techniques. . . . . . . .


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e profiled scrapper / marking gauge in action during the cutting of the rabbet.

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The construction of the model …… continued………

e rabbet.A few words to help understand this element, which is cut along the keel, sternpost and stem assembly.e rabbet serves as a joint between the keel, frames and the outside planking of the hull. e planking attached to the frames, located in the center of the hull, rest almost horizontally. e angle at which the planking is laid changes as it follows the shape of the hull forward and aft. Aft, against the sternpost, the planking lays vertically.Forward, the installation of the planking follows the shape of the forward frames which explains the particular shape of the gripe; its upper progressive narrowing. Other parts are also affected by the rabbet’s angle; the rising-wood aft and forward, the forward filling piece which is fitted between the rising-wood and the inner stem as well as the sternpost knee. All these areas are, in part, an extension of the rabbet. e shape of the rabbet can be appreciated by an attentive study of the plates (sheets from the plans).

e cutting of the rabbet must be done on both sides of the keel and parts affected. As far as the technique to be used, there are several. e profiled scraper illustrated in the preceding pages is a good tool to start with. en for the final shape, using chisels and small sanding blocks will definitely finish the job.

e rabbets angles are usually formed, temporarily. Once the frames have been installed, then the final shaping takes place.

Aft view. (photo Gilles)

Forward view of the keel. (photo Gilles)

View of the stem. (photo Gilles) View of the gripe and rising-wood. (photo JP Bour) View of the stem. (photo Gilles)


e building oarde building board is composed of all the components which will hold the model in place during the framing of the hull. All of the parts built so far will be securely held to avoid any movement or distortion during the installation of the transoms, the frames and subsequently some work to be done inside the hull.e size of the building is of course dependent on the chosen scale and it must accommodate a number of basic elements; support for the sternpost, the stem as well as the installation of a second level to maintain the jig used for the alignment and squaring during the framing.

e following description is not imperative, but only the regrouping of suggestions and techniques brought out thru the experiences of several modelers…… e steps necessary in the set up of such a board can be done according to one’s desire or know-how.

e asee base of the building board is made out a sheet of plywood perfectly flat with squared sides. It should be from 2.5 to 3 cm thick. Reinforcement may be necessary by adding a framed base mounted on the bottom of the board. is addition will insure rigidity as well as levelling of the flat surface. It will also somewhat facilitate the installation of the rods which will maintain the upper level.

At this point it is necessary to trace a centre line lengthwise. is line will mark the location of the keel. After having taken a few measurements from the plan, it is possible to decide on the location of the vertical blocks which will secure the stern and stem. e block supporting the stem can be installed first and complemented with a full or partial template of the stem’s profile.

Stem with a profiled template for a firm and secure vertical support

(photo JP Bour)

General view of the building board (photo JP Bour)

Here, the stem is placed directly against the block; no stem template is used,

(photo Gilles)


Once this first support has been cut out, it can be centered and installed on the base.After having marked the center of the end of the keel, the stem can be secured into its support. e keel is then aligned using the board’s center line and the location of the sternpost support can be determined. As a general rule the stern support sits further away from the model than the forward support. is extra space will allow adding another template or jig which will later be used to build up the upper stern of the model.

e image below shows the vertical support for the sternpost. We will note one of the two strips placed between the supports. ey will be used to align and secure the keel. At this point all the parts can be assembled and the keel put in place temporarily.

e two images shown here show the sternpost support. Here again we will notice differences in the appearance of the building boards. In the image above the location of the frames has been done directly onto the board (photo Gilles). e image on the right shows the location traced on paper (photo JP Bour).

reparation and nstallation of the pper ig

Having precisely traced and compared the lines on both; the base and the upper level jig, the two can be clamped or secured together to drill the holes to secure the rods which will maintain the two elements. en the inside of the jig can be cut out, the stem, sternpost supports can be re-installed along with the two strips holding the keel in place as well as installing the rods.e number of rods necessary to maintain the upper level securely depends on the size of the model; 8 to 12 rods should be enough for scales of 1:48 or 1:36.Once the jig has been installed, its height can be adjusted according to the chosen level.

Tracing the position of the frames on the two pieces, then comparing. is is followed by drilling the jig and the base for the installation of the support rods for the second level. (photo Gilles)

While the keel is in place, the location of the frames can be marked on the building board base.

As show on the images above, the tracing of the location of the frames can be achieved using different techniques. If the tracing is done on paper from the plan, the upper jig can be done at the same time. If tracing is done directly on the base from the notches cut in the rising wood, the upper level jig will be traced from the plan then the two will be compared for accuracy. In any case it is very important to be as precise as possible.Remove all parts from the board for the next step.


hotos of some of the built up boards:

~ Le Gros Ventre ~ building board from Marcel ~

~ Building board from Gilles ~

~ Building board from Jean Paul ~


Building Board:All the parts have been assembled.

From now on it stays in the workshop,

It is too heavy……….

Last step:Adjustment of the second level height.Measured from the plan and transferred to the building board.


Lexicon . . . . . . . . . .Terms used during the construction of the axial frame.

2) alse eel, placed under the keel. It is very useful in preserving the lower-side of the main keel.

9) nner tem, the inner stem is generally made of 2 parts bolted to the inner face of the stem. ese parts are joined by a scarph-joint. e width is the same as the stem and keel.

6) nner tern-ost, timber which is located against the inside face of the stern-post. Its upper part is notched to receive the transoms and wing transom. Its width is the same as of the keel and stern-post.

1) eel, the principal piece of timber in a ship, which is usually first laid on the blocks in building, considered as the back-bone. e keel is composed of several pieces which, after being scarphed together, are bolted.

10) ising-ood, is composed of several parts which are placed on top of the keel. ese parts are of the same width as the keel. Notches are cut along its length to receive the frames. It is extended aft on the stern-post knee and forward on a dead-wood which is also notched in the same way.

4) tern-ost, a long up-right, straight piece of timber erected on the aft extremity of the keel to hold the rudder. It is generally of the same breadth as the keel. Its position is slightly inclined aft.

7) tern-ost nee, the stern-post and inner stern-post are attached and secured to the keel by a knee of which one branch extends along the keel.

8) tem, is placed forward and extends the keel upward. It is generally composed of twp parts joined by another scarph-joint. Its width is the same as the keel. e upper extremity is shaped to receive the bowsprit mast.

3) ore-oot (ripe), extension of the keel. e gripe is located between the keel and the stem. It is attached to these elements with scarph-joints. Its forward extremity shoots in an upward direction to connect with the stem. It width is the same as of the other elements.

11) abbet, the rabbet is cut along the assembly of the stern-post, keel and stem. It is there to receive the hull planking. e garboard plank will be fitted into the rabbet along the length of the keel. e shape or profile of the rabbet is dictated by the shape of the floor timber as it joins with the keel. To keep it simple, its shape changes from a “V” forward and for most of the keel’s length to an “L” aft. Its shape also affects the profile of the gripe (forward), the stern-post knee (aft) as well as the rising-wood.

5) alse tern-ost, timber which is nailed to the aft face of the stern-post to reinforce and protects in holding the rudder.

6

3

11

610

6

1

6

2

69 68

6

7

6665

64

61

6

1

6

2

6

2

686

10

6

10

6

10611


Construction tricks and techniques

e following pages present some of the future steps in the construction of the models. is documentation is assembled for all to have the chance to study some of the techniques which may be used. Some of these documents represent the techniques or experiences as shared by participating members on the construction of Gros Ventre, other techniques are shared by modelers bringing their know how for all to benefit. e goal is of course to facilitate the work for all and to gain some confidence before jumping into some of those steps which can sometime be intimidating…………

e rames

By Dave Stevens (1:48 scale)

1) On the frame plates you will find the frame patterns overlap. To begin 4 sets of each of the three plates will have to be made. Each frame pattern requires two copies and two more copies for the over lapping frame. On each frame pattern you will find a set of dotted lines and a set of solid lines, these lines are the butt joint between the futtocks. Carefully, I used a steel rule and made a cut at each dotted line. en on the second copy I made the same cut on all the solid lines. Next the frame patterns were cut out leaving about 1/16 paper around the edges. Using colored markers each set of futtock patterns were color coded so they won’t get mixed up.

2) Once the futtock patterns are cut out they are glued to the wood sheet using rubber cement. Each wood sheet measures 2 x 24 and they are milled to .171 that’s 4.5 mm or just under 3/16 of an inch. If you are careful you should get 3 complete frames per sheet. To make all the frames you will need exactly 20 sheets. I suggest prepping 22 sheets for just a little extra.

3) With a scroll saw I cut each pattern along the edge of the paper. You don’t have to be accurate at this point in cutting the frame patterns. Once the frames are assembled they will be sanded closer to the final size.

photo 1)

photo 2)

photo 3)


4) Here you see the process of cutting the patterns. e only point you have to be careful of is to leave material at the ends of the patterns were they will butt each other.

5) Here is a complete set of futtocks cut out. On one half of the frame 5 pieces are required to complete the frame. On the second half of the frame, 7 futtocks are used. Notice I left material at the ends of each piece. e ends are critical so I will sand them to the paper edge rather than trying to cut them exact.

6) Using a disk sander sand the wood exactly to the edge of the paper. For delicate sanding I like to work close to the center of the disk. e further out to the edge of the disk the faster the sanding. I get better control when working close to the center. I also work under a magnifying glass to be sure I hit the edge of the paper exact.

7) is is a perfect fit, line up the drawing and I use a dab of 5 minute epoxy to hold the futtocks together. You can still see the original line of the joint between the futtocks.

8) Here is a miss fit between the butts of the futtocks. As you can see the angle is slightly off where there is extra wood visible. If your not right on with the sanding it will throw off the position of the futtocks.

A frame with its two thicknesses separated.

photo 4)

photo 7)

photo 8)

photo 5)

photo 6)


utting the otchese floor is notched to fit into a notch in the rising wood and the half-floor has a notch which sits on top of the rising wood. e keelson itself willbe notched to receive the floor timber and the half-floor will be notched to rest against the lower face of the keelson. I thought, ok, maybe I should eliminate all this notching and assemble the frames, then cut one notch at the bottom to fit over the rising wood. ere are two halves to each frame one half is broken down

into futtocks with a dotted line the other with a solid line. So watch which notches you cut on what floor. In this photo we are cutting the notch into the solid line side of the frame. e first two cuts are along the edge.

A series of cuts are made along the inside of the notch on the solid line floors as well as the dotted line floor. e dotted line floor also has a notch in the top for the keelson.

Once the wood is cut out of the notches, very gently run the floor right to left and just touch the blade to the wood. is acts like a planer and shaves the notch right to the every edge of the line. When it comes to the final fitting of pieces a quick pass with a file will bring everything to a snug fit.

Final result

ligning the loors and alf-loorsOnce the notches are cut and finished for both floors, it’s time to locate and set the floors in place. Using the inside edge line and the center line we can line up the two floors. ere will be a ledge in the lower notch, the smaller notch sits into a notch in the rising wood and the larger notch will sit over the rising wood. It is important these line up correctly so save work later when trying to fit the frames. Once the frame is assembled it will be much harder to adjust the notches.

e photo, right, shows the alignment of the floor timber (bottom) and the half-floor (top) and their notches.


ssembly of the ramese inside of each futtock was sanded to leave 1/32” extra material, the outside was left as it was originally cut. e reason the inside is sanded before the frame is assembled is because you would need a spindle sander to finish the frame. Another reason for sanding the pieces first is the fact a spindle sander on the up stroke will tend to fray the paper pattern making it difficult to sand exactly to the line. Many of the pieces have curves which are hard to sand on a flat disk sander. One way I solved this little dilemma is to use a hard rubber disk on the sander. I use a sanding disk slightly larger than the rubber disk. is causes the sanding disk to fold or bend around the edge of the disk when using the edge. Cutting with the edge of the disk is somewhat risky because it cuts real fast so a very light touch is required or you will gouge into the piece.Even though all the pieces are sanded separately from one another, you can see in the photo, once the pieces are assembled the edges will come close to one another. e trick here is to sand the 1/32” extra as evenly as possible. is will take a little practice but once you get the hang of it all your pieces will fall in line.

We are looking at a finished frame, from here I will back track and explain each step I took along the way and why I did it. is, of course, is my method of building this model and is not the only way it could be done. Notice in the photo I have sanded the frame to within about 1/32” from the finished shape. I left this extra wood along the edges to give me a little leeway when assembling the hull. Once all the frames are set in place I will sand the entire hull to its final shape.

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By Jean Paul Bour

1) Transfer onto tracing paper,

2) Reproduction on the wood plank,

3) Cutting with the scrollsaw,

4) Sanding the extremities,

5) e different parts ready to be glued,

6) Gluing alternating parts forward and aft by holding in a vice for each part,

7) Let the glue dry before sanding

Fabrication of the Frames


Finally, glue a wood strip on the frame’s extra length. e strip should be as thick as the space between the frames to assure the right spacing. Final sanding will take place when all the frames have been installed.

e strip has a thickness equal to the space between the frames. It assures the right spacing throughout, from frame to frame. e assembling of the frame is done with a series of iron square nails. e nails do go thru the two frame thicknesses. ree nails between each joint.

e mortise and tenon cut in the rising wood and the foot of the frames which require such treatment can be simplified.


Fabrication:

1) 33 holes will be pressed into one face of the frame with the square tool, then on the other side with the rounded one (these impressions should match as much as possible).

2) e impressions, or small holes, are then filled with a compound such as wood filler mixed with a dark die.

3) Let dry

4) Sand the frame on both sides on a disk sander with fine grit paper. e excess filler must be sanded, not the wood.

5) A coat of varnish is then wiped on.

epresenting the nailsFabrication and installation of somewhere around 2500 nail would make some think about it!As far as I am concerned, it was a simple decision. e nails will not be real.Material:Two miniature awls (punches); one round and the other square, both made from an adequate size nail which has the tip ground. e faces are 0.8mm for a 1:36 scale (Jean Boudriot indicates a dimension of 3cm).

Photography and commentary by Jean Paul Bour.

e Punches

e frame is ready.


Magellano Group is a modelling virtual group, born in June 2003 by the idea of seven friends to create a technical-historical-modelling room of friendly meeting and knowledge sharing.e seven friends decided for this reason to create, thanks to the computer medium, a discussion group and a website. e Yahoo discussion group has the main purpose to allow communication among members, and the website is the on-line magazine of all modellers.Magellano lives thanks to the contribution of all members that share, without jealousies, exchange of articles, information, techniques.According to these principles now Magellano has about 200 members that daily bring new stimuli and new initiatives, and collaborations of famous authors/researchers.

inking of how to increase our own cultural baggage, the Magellano’s staff thought, seeing the monograph of the Gros Ventre of Gérard Delacroix and the beautiful job of Gilles Korent, Damon Atkinson, et cetera… to participate in their international project in two ways:Building a group model in 1:36 scale and building various models realized by the single members.Collaborate in writing documents with the international group.At this point the staff decided that it has to realize a website exclusively devoted to the project, and it needs to organize a structure able to comply with all the necessities, of the individuals, the Italian group and of the international group. After a while, the operational structure was born with the subdivision of the various coordination duties:

- Computer science and Web: Carlo - Germano - Andrea R.- Logistics and Technique: Roberto - Franco - Andrea V.- Communication with International GROUP and translations:Rodolfo - Carlo - Andrea R.- Writing-Internal magazine: e whole Staff.But, without all the members, little can be realized, and the big interest born by the project, will bring us to devote a web page to every participant with his modelling biography.

By now, the group yard is beginning in Milan, with the division of the assignments among all of the participants, a lot of things can also be adapted in progress, because being the first experience of this kind, we will grow together all according to the guidelines that drives Magellano: friendship, generosity and interchanging.

Good job to everybodye Magellano’s staff

Discussion group URL:http://it.groups.yahoo.com/group/Magellano /

Magellano website URL:http://www.magellano.org

Gros Ventre project website URL:http://www.magellano.org/grosventre

At the moment, since the group members are scattered througout the Italian peninsula, we are studying the project in the various sites.The group model will be made in pear wood in 1:36 scale.In Milan we are proceeding with the construction of the yard, contemporarily to the study of the projects and the distribution of the construction duty.In Lombardia (Milan) the whole skeleton will be built and the complete hull will be assembled.In Liguria (Sanremo) the shallops and the sails will be built.In Veneto (Udine) all the metal parts will be built.In the various other regions all the remaining parts will be built (guns, pumps, masts and yards, etc. etc.)

From left:Carlo – Germano – Rodolfo – Roberto – Andrea V. – Franco – Andrea R.

roup


awse timbers (e ros entre)By Jean Paul Bour

art one:

First approach: Take a hard-cover book, open it at 90 degrees, standing up vertically. One of the covers represents frame 1, the other representing the stem. Divide the pages in 7 sections.

We note that the sections (hawse timbers) are vertical and that they all end up on the same axis; where frame 1 and the stem meet. e hawse timbers are nothing more than half frames converging to the same axis at different angles.

Second approach: Cut an apple in four quarters and divide one quarter into 7 sections. Just as with the book, we note that the 7 sections are vertical and converge at the same meeting point. With the apple, we also note that these sections are beveled. Some of the timbers on the model have a small shelve where a second timber rests. If it were not for this, the timbers would all be similar and easier to cut. e timbers, with the shelves are basically the same as the simple timbers except for the fact that the lower part is extended from the one next to it.

omprehending and visualizing the plans

To understand the plan we must make up a representation in three dimensions.


art two: e building jig: (le chantier)

It is composed of a small board on which is glued a sheet of paper to facilitate the separation of frame 1. Trace a vertical line and spot glue frame 1 which has not been yet sanded. A second board of the stem’s thickness is screwed in the centre of frame 1. On this sheet we trace the rabbet line or profile. On each side glue 2 strips; one vertical and equal to the thickness of frame 1, one horizontal for the hawse timber to rest on. en, cut and place a template representing the top of the timbers. e angle of each timber is also drawn on this template.


To build the timbers; start with #1 and 2 lightly glued in place on the centre (stem), then cut #6 and glue on frame 1. Followed by #3 place between the preceding two. #4, 5 and 7 will are done last. e outside top of the timbers is sanded to fit within the top template. Small filling pieces are placed between the timber (at the top) to keep them in place.

art three: e ompletion

Once the glue is dry, remove the centre board simulating the stem and replace it by another timber of the same thickness as the stem with the profile of the rabbet included. e back board is then cut following the contour of frame 1. Sanding can be carefully done using a narrow belt sander and finished by hand e interior is sanded down using a rotary tool and by hand.

Questions: Please visit the forum to follow the discussions:

http://forum.aceboard.net/index.php?login=15916


awse timbers (continued...)

Here is a technique presented by Éric L’Emaillet. is documentation was taken from his Internet site, which can be seen at:

HTTP://perso.wanadoo.fr/maquettes-marine/Index.htm

By Eric L’Emaillet

Construction of the Hawse Timbers

We can consider that the hawse timbers are slices of a quarter sphere at 90 degrees, which fills the space represented between the stem and the first frame. e timbers extend outward from near the center of this first frame. ey are difficult to make because their faces are not parallel and even a slight error in the angle, multiplied by the number of timbers, will end up

in a catastrophe. Even though the construction of these timbers demands a certain experience, I will present a method, limiting the explanations to a minimum. e writing of the text was difficult because these explanations are not easy to convey. Reading these should be done with utmost attention, as well they may require several successive readings.

Here is how I proceed:

e example chosen is the model of La Renommee, but all hawse timbers are built following the same technique.I cut all the timbers following the plan including the bevel angle. e sides are left parallel; the sanding of the angle has not yet been achieved.

On a board, I draw the forward profile of the first timber, including a stationary waterline (as shown on the plan), as well as the centre of the first frame.


On the plan, I extend the lines (vertical plane) of the timbers to the stem, which will give the centre of origin of each arch. It is difficult to explain but it is done using a ruler and extending the timber lines on the stem plan.

e extended lines are then transferred on a water line template which is traced to represent a 90 degree angle.

e first timber which will rest on the stem.Its forward face is shaped following the plan. e sides are left parallel.e doted line is the end of the line formed by the angle of the timber as seen at the bottom right of the photo.

A guiding strip is placed parallel to this doted at a distance such as the sanding board will have its base in contact with the doted line. Sanding is done against the guide, making sure that the angle is followed and kept constant; this is the most important part of this work.


Sanding is complete when the board is perfectly flat against the timber. It can be verified by a few pencil marks on the face of he timber to be sanded.e timbers are temporarily glued together.

Use the template to verify every timber at the waterline level to make sure that they are of the right size and angle. By having each timber marked at the water line, they can easily be positioned against the preceding one.

End of the operation. e timbers show a total angle of 90 degrees. Each timber has the right dimension.

e assembly resting on the plan and sanded on the outside.e inside face can be sanded as well.


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Final result

marine-maquettesEric L’EMAILLET

modelisme naval maquettes statiques

http://perso.wanadoo.fr/maquettes-marine/Index.htm


Photos of some of the models of Le Gros Ventre under constructionGallery

~ Guy D. ~

e hawse timbers and transoms are complete. e frames are under

construction…..

~ Jean Paul B. ~

e frames and spacers are in place. e outside of the framing has

received a preliminary sanding……


e hawse timbers have been completed…..

~ Marcel ~

~ John N ~

Work on the frames is under way…..

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Periodical Newsletter written and presented by

illes orent, amon tkinson & arlo avaletto

With the assistance of érard elacroix

hgVolume 1 - Issue 2 - April 2004

Contributions by

Articles and photos by: ean aul our - uy ubois - ave tevens

ric ’maillet - e groupe agellano

Photos by: Marcel - John Nelson - Patrice Guenon

Steve Owen - Vincent Davenas

hgContribution by the members is welcome and encouraged for future publications.

ese should be related to model ship building only and applicable to this project, whether technicalor of a more personal nature; such as experiences during the construction.

Please submit your material directly to either Gilles, Damon or Carlo.

We remind you that this publication was created to follow the progress in the construction as well asa way to get to know each other a little more during the work that lays ahead.

Merci.......Gilles, Damon, Carlo & l’Équipe de support

Next issue; uly 2004

hg hg

The Slipway News

Documents

The Slipway News - MAGELLANO.ORG · l Building Le Gros Ventre: Construction starts: Axial Frame. l Technical File: e Rabbet by Guy Dubois. l View of things to come: Frames . . . by