eBook
Available on Compatible NOOK devices, the free NOOK App and in My Digital Library.
Related collections and offers
Overview
Product Details
| ISBN-13: | 9780486156194 |
|---|---|
| Publisher: | Dover Publications |
| Publication date: | 04/02/2012 |
| Series: | Dover Woodworking |
| Sold by: | Barnes & Noble |
| Format: | eBook |
| Pages: | 192 |
| Sales rank: | 920,919 |
| File size: | 10 MB |
Read an Excerpt
SHIP MODELS
HOW TO BUILD THEM
By Charles G. Davis
Dover Publications, Inc.
Copyright © 1953 Marine Research SocietyAll rights reserved.
ISBN: 978-0-486-15619-4
CHAPTER 1
Types of Ships
To the inexperienced all ships look alike and in later years steamships have been duplicated over and over again, many times, from the same set of plans, so that they are alike except for name. But in the days of sailing craft this duplication was not carried on so extensively and even if the hulls of several vessels were alike there were distinguishing features about the spars or rigging or deck houses that enabled those who knew to pick out each individual ship.
Just as one who knows automobiles can tell at a glance the make of a car, so shipping men could tell Bath-built ships from New York ships and Baltimore ships from New York ships, etc.; and just as styles in everything else changed so did ships and by a certain feature in the ship's hull the approximate year in which she was built can be told, just as in motor cars.
So, in making up a model, if you wish to build a ship of the year 1800 you should learn the features that were characteristic of the vessels of that date and not incorporate in her details that were not invented or used on ships until 1850.
It is a subject far beyond the scope of this book to describe all the various types, sizes and rigs of ships that have been built from ancient times up to the present, in order to give a list to choose from. There are many books published that give this information and from these one can pick the particular ship of which he wishes to build a model.
One thing to bear in mind is the fact that ships have gradually, year by year, increased in size and when we speak of a ship in the twentieth century, when sailing ships are built from two to three hundred feet long, it is hard to realize that in the early part of the seventeenth century there were ships as small as seventy-five feet in length; and as late as 1811 the "Mount Vernon," built in Massachusetts for New York owners, was a ship only 99 feet, 6 inches long, 28 feet wide, and of 352 tons burden. It is no wonder the skysails carried by the large clipper ships of later years were then unknown, for her spars aloft would be too light, if in proportion to the rest of the ship, for a man to trust his life going out on them.
The large war ships in the English, French and Dutch navies in the 18th century were ships of only about one hundred and fifty feet in length; so be careful in building old-time models that you do not make them look like ships of double their size.
Caravals and clipper ships, two extreme types, seem to be the most popular just now among model makers and there are more "Santa Marias," "Half Moons" and "Flying Clouds" being built today than any other type of ship.
The caravals do make a very pretty ornament with their high bows and sterns decorated in colors and with the picturesque combination of square sails and lateen sails, with colored flags and streamers from mastheads and peak and, moreover, their rigging is not so complex as a clipper's.
But the greatest eyesore of all to a shipbuilder is the total disregard for symmetry shown by some model builders. They know very well that in a house no house builder would think of slanting his windows as shown in the accompanying diagram (Fig. 18), yet when they build a caraval they commit just as grievous an error when on a ship where everything is slanting and tapering and the vertical members all show a radial, fan-like effect, they put in square, house-like windows (Fig. 19). One is as bad as the other for the same reason that the house windows should be vertical to match the square, vertical effect of the house (Fig. 20). The windows in the caraval should radiate on a slant to match the adjoining members of the ship (Fig. 21). There is no trade in the world where the mechanics employed strive to harmonize the various members used in construction, as do shipbuilders, even to the gradual taper given every plank and rail in the ship's side so that the ends of the ship will not appear clumsy but look light and graceful.
Clipper ships were the acme of perfection in shipbuilding, speed and strength being apparent from their appearance. Their hulls, stripped of all the antique carvings and elaborate ornamental work that made an old-time ship's stern look like a lover's valentine, and with all the carved trailboards, head rails, knees and high carved figurehead of the stem gone, she looked like an athlete stripped for action. The stern carried up sharp and high ended in a very narrow or shallow stem, sometimes round instead of the old square style with nothing but her name and hailing port in gilded letters thereon, while the bow was equally bare. Sometimes a carved dragon or figure symbolic of her name adorned the upper end of her narrow cutwater that flared up close under the bowsprit. They loaded deep in the water and had a lofty set of spars, carrying three skysail yards and studding sail booms to the royals.
Their white holystoned decks were less encumbered with houses than their predecessors the packet ships, giving a cleaner appearance on deck fore and aft.
The masts were spaced wide apart with the foremast well aft for the clippers had long, sharp bows, the water-line showing quite a hollow and the flam or flare of the bows up to the catheads on the topgallant forecastle being excessive.
The packet ships were about the most picturesque of all. They carried big rigs including skysails and studding sails and while the models were fined up a little below water in an effort to get speed, for these ships were the passenger and mail carriers before steamships supplanted them, they still retained in their topsides all the picturesque features that make a model look so shippy and interesting. Their sterns were highly ornamented and their bows carried carved figureheads, trail boards and head rails, while along their sides was painted that broad, white band with painted gun ports that at a distance made them look like a man-of-war.
On deck the early packets were small, flush-decked ships which was the common style in merchantmen until about 1812 when poop decks and forecastle heads were added. The crew's quarters were still below, down in the fore-peak, but the long boat, stowed in chocks between the main-hatch and the foremast, housed over and used to stow the pigs, chickens and geese, with the cow-house lashed on top of the main-hatch, make a very interesting model and one that marks an epoch in our national marine, a record well worth preserving. The poop deck extended just forward of the mainmast, the main cabin below having its thwart-ship bulkhead set back forming a shelter deck below, with ladders on each side coming up through hatchways, giving access to the poop forward; while aft there was a wheel-house from which a gangway led down into the after cabin.
After the clippers there came, about i860, a type of so-called semi-clippers where the hulls were filled out to give greater cargo capacity and labor-saving devices such as winches, donkey engines and double topsails came into vogue as freight rates declined and economy cut down the number of foremast hands the ships could afford to carry. They were large ships with poop decks, deckhouse and forecastle heads; the crews being housed in a long, narrow house abaft the foremast in which also were the carpenter shop, galley, and if they carried power, the donkey boiler and hoisting engine with winch heads extending out on either side for hoisting topsails, etc. The two long boats were stowed bottom up on skids on top of the house.
Another picturesque type of model is that of a whale ship with all its quaint, clumsy-looking wooden davits, whale-boats, "cutting in" stage, with boat platform and gear house built across the stern forming a box on each quarter of the ship. The hulls of these ships might be almost any type of ship as old merchantmen, packet ships, etc., when worn out in their particular trade generally degenerated into "blubber-hunters," as sailors scornfully termed whalers.
CHAPTER 2Kinds of Models
Ship models are constructed in a variety of ways according to the purpose for which they are to be used.
Some models only represent the ship above water and the boards upon which they are mounted are painted to imitate water or a mirror or ripple glass, as it is called, is used to simulate water. To make such a model does not require a very thick piece of wood, particularly if only the ship's hull to the deck is shaped from it and then the bulwarks built up afterwards.
Such models appeal to the old deep-water sailors. That is all they generally saw of ships and models so made reminded them more nearly of their former abiding places than did the full model. The technicalities associated with the shape of the ship's hull below the water-line, the angle of deadrise to the midship frame, how lean or how full-bodied she was below water, how sharp or how blunt in the ends, were to them uninteresting; but the ship above water, with every detail of deck houses, spars and rigging, was their favorite way of making a model. As a household ornament people usually prefer these models, particularly if they have those cleverly carved sails that make a ship look as if she were actually sailing "like a homeward bounder in the southeast tides."
Along in the 1880's, deep-water sailors used to whittle out sets of sails for model ships, made so that they could be nailed to a board from which they stood out at an angle of about forty-five degrees. The board was painted to represent sky and sea and sometimes further embellished with the cliffs of Dover, Cape Horn, or some well-known headland, island, or lighthouse. Half a ship's hull, above water, was then carved out and fitted below these sails on a sea made of putty or painted to represent water and placed on a narrow baseboard set at right angles to the backboard.
Other sides, making a shallow box like a shadow box on an oil painting, were then fitted and sometimes a glass front was put on to protect the model.
Another interesting kind of trick model was the ship-in-a-bottle, which causes much speculation as to how a full-rigged ship could be made inside a glass bottle. How was it put in? Was it rigged after it was put in? If so, how? Such are the questions provoked by these models. These models were usually all rigged before being inserted in the bottle. The masts were then laid down on deck in which position the whole model could be pushed into the bottle and by pulling up on the headstays the masts would be raised again into place. The headstays would then be glued fast, cut off and the cork inserted.
These models, like those made so microscopic in size that you need a glass to see the details, are not valuable as historic records of ships, but are merely curios. Some that I have seen were truly wonderful exhibitions of patience and a very few, besides being tiny, were accurate in their details, having deadeyes with lanyards properly rove — so tiny that a magnifying glass was needed to see them; but such work will ruin a man's eyesight. A model as small as 1/8 of an inch to the foot is small enough and about as small as can be made with accuracy. A larger scale is preferable.
White pine can be purchased as thick as four inches, but if difficulty is encountered in obtaining what is wanted, then take two boards, plane the adjoining surfaces smooth and glue them together. I have tried hot glues and cold glues, hoof glue and fish glue and what not, but now I use plain glue, generally Le Page's. The more important part in gluing wood together is to have the wood dry, slightly warm, rather than cold. Spread the glue evenly and then clamp it tightly together and hold it so for a day at least before trying to use it. Try and have the top layer of wood so thick that the sweep or sheer of the deck, as it scoops down in the middle, will not cut through the upper layer of wood and leave thin edges (Fig. 23), as they are liable to come loose and curl up in time. There is a way of preventing this, which is by putting on a thin board over all to act as a deck (Fig. 24). When this is done these ends are of course held down and are completely hidden.
It is well-nigh impossible nowadays to obtain white pine in a block large enough to cut out a full model of a ship in one piece, unless she is to be made to a very small scale.
And it is not at all necessary that it should be so for you can take as many clear, soft, straight-grained pine boards as are needed to make up the size of the block your model requires and spread each with a layer of glue. Then clamp all tightly together (Fig. 25) and you have what is called a bread and butter model. The principal point to observe in this sort of a model is to see that adjoining boards do not have the grain running at too great a variance from each Other, as it will be found difficult to cut, if such is the case.
Do not try to include the keel, stern and stern post. Model your hull only to the rabbet line — the seam on the ship where the planking joins the keel, stern, stem, etc., and later on add these members to the hull.
A full model of the ship, showing both sides, is preferable where one is more or less a student of ship development, as the underwater portion underwent many changes, from time to time, as ships increased in size. In 1770 a ship a hundred feet long was about the average length as then built; but in 1850 ships were built nearer two hundred feet long and many were nearly three hundred. Some that were built to load cotton at New Orleans were built very flat in the bottom in order to draw as little water as possible in getting over the bar at the mouth of the Mississippi River. They were as square-sided as a box and built full in the ends in order to stow as many bales of cotton as could be jammed into them with huge screw jacks, for the cotton was so light for its bulk that the ship would be full and yet not sink very deep in the water. The packet ships that made regular trips back and forth across the Atlantic carrying passengers and mail with a little freight, if it could be had, but sailing on certain advertised dates throughout the year, doing what passenger steamers do in later years, were cut away to a much finer model below water and built to carry a press of sail.
The cargo carriers — old kettle-bottomed ships, as they were called — were big and wide near the bottom with the sides narrowing in at the deck, so as to cheat the tonnage measurement in vogue about 1830. Beam, one of the measurements used in computing the ship's tonnage for taxation, was measured at the deck and this was the cause of ships being built that were clumsy looking craft, even if they did earn more dollars for their owners.
When the California gold rush of 1849 came on and speed above everything else was demanded, the hereto-fore clumsy, full-bodied hulls were supplanted by a sharper-sectioned ship with very fine sharp ends that could reel off its fourteen to sixteen knots, but carrying less cargo, the profits being made up to the owners by the much higher rates paid for quick passages.
The advantage of the full-block model is that all these features of the ship can be expressed in the model.
The shipbuilder always cut out such a model, but for the sake of economy, as it answered all his needs, he only modeled one side of the ship, the other side being merely a duplicate reversed. Such models were called half models (Fig, 27), and years ago they were very numerous. Every shipping house, broker's office, and even shore-front saloons, had its walls decorated with these models mounted on highly polished boards of mahogany, black walnut or maple. Only a year ago I had the pleasure of viewing a collection of about thirty such builder's half models on the wall of what once was the office of the Mallory shipyard at Mystic, Conn. At Webb Academy, Fordham Heights, New York, the ship models of William H. Webb are still preserved, and in the Smithsonian Institute at Washington there is a collection of such builder's models of all types of ships built from Maine to the Chesapeake that is historically invaluable. Other collections may be seen at the Peabody Museum, Salem, and at the Marine Museum in the Old State House, Boston.
Where the various boards, or lifts, as the shipbuilders term them, were joined together, the seam-traced lines that gave an indication of the ship's shape, corresponding to the various level or water-lines that are used in drawing up the lines of a ship — the plans from which it is built, and in the old days when such knowledge of ships' shapes was common talk along the waterfront and the terms, water-lines, buttocks and cross-sections, formed the topic of many a dinner hour discussion — these seams in the model were made more pronounced by mixing black with the glue, so that a distinct black line was made. Some builders sawed the blocks vertically in layers to show the shape of the buttock lines and one even went so far as to saw the model transversely at intervals to show the shape of the cross-sections or frames.
This practice led to the introduction of thin layers of veneer just the thickness of the saw cut. Another way of showing the lines of the ship more clearly was to make the lifts alternately of pine and mahogany or some other dark-colored wood, so that the shape of each water-line was clearly defined when the model was varnished.
(Continues...)
Excerpted from SHIP MODELS by Charles G. Davis. Copyright © 1953 Marine Research Society. Excerpted by permission of Dover Publications, Inc..
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Table of Contents
PREFACE"MODEL OF THE CLIPPER SHIP "SEA WITCH" Frontispiece"
INTRODUCTION
MODELS OF VESSELS: SIXTEEN PLATES ILLUSTRATING MODELS OF DIFFERENT PERIODS
I. TYPES OF SHIPS
II. KINDS OF MODELS
III. PREPARING THE BLOCK
IV. THE DECK
V. THE HULL
VI. THE RUDDER AND TRANSOM
VII. THE DECK FURNITURE
VIII. THE ANCHORS
IX. "BITT-HEADS, CHANNELS, DEADEYES, ETC."
X. THE SPARS
XI. TOOLS FOR MODEL MAKING
XII. GLOSSARY
"BELAYING PIN LAYOUT ON THE "SEA WITCH"
"TABLE OF OFFSETS FOR THE "SEA WITCH"
INDEX
"WORKING PLANS FOR A MODEL OF THE CLIPPER SHIP "SEA WITCH," In pocket on the inside of the back cover"