Sailing schooners blueprints. Sailing ships, model drawings free download

Deciding to dilute the conversation about the intricacies of the modeling business with "billetter", I open a periodic cycle of stories about ships that are especially popular with ship modellers. As a rule, only a few of those who build a model of HMS Victory or the Black Pearl are familiar with real story prototype. But this story is often full of such mysterious ups and downs that it is just right to write an adventure novel, or even a detective story.

The starting cycle - "Mysteries of the legendary sailing ships" will acquaint the reader with the facts from the structure and history of famous ships.

Few of the tourists strolling along the Yalta embankment know that the cafe "Hispaniola" ("Hispaniola"), stylized as a sailboat, was once a real ship. In the 60s of the last century, he bore the proud name of the first Soviet Marshal Voroshilov and transported goods along the Black Sea coast. And in the 70s, he became an old two-masted sailboat and went to Treasure Island for Flint's gold, and then was shipwrecked off an uninhabited island with Robinson Crusoe on board.

In 1970, at the Yalta film studio, director E. Fridman filmed another adaptation of R. L. Stevenson's novel Treasure Island.
Wanting to achieve realism on the screen, Friedman requested a real sailboat that corresponded to that described in the novel (before that, either any sailing vessel was filmed in films, or models in a special pool and scenery in the pavilion).
For the construction of the schooner "Hispaniola", the film studio purchased the old sailing and motor schooner "Klim Voroshilov" (1953) from the Kherson winery. The project for the re-equipment of the ship and the general management of the work at the initial stage were carried out by the researcher of the Leningrad Naval Museum A. Larionov. The sailboat was finally completed under the supervision of the design engineer of the film studio V. Pavlotos.

The bulwark was built up on the old Black Sea "oak", the central hold and the stern were converted antique, the ship was equipped with two masts with oblique gaff sails and straight sails on the front mast, which corresponded to the sailing armament of the schooner (although V. Pavlotos called "Hispaniola" a brigantine). The sailboat came out successful and starred in several more films, including "The Life and Amazing Adventures of Robinson Crusoe" by S. Govorukhin (1972).

In another domestic film adaptation of Stevenson's novel, filmed in 1982 at Lenfilm by director Vorobyov, the "role" of "Hispaniola" was assigned to the three-masted Jackass schooner "Kodor" (which the audience later saw in the "role" of "Duncan" in the film by S. Govorukhin "In Search of Captain Grant" (1985). Episodes were filmed on the Kodor, and the entire Hispaniola appeared in the frame only as a model.

Do not differ in originality and foreign films based on the novel "Treasure Island". In the American film adaptation of 1990, Flint's treasure expedition sets off on a three-masted sloop (a remake of the historical sailing ship Bounty, built in 1961, was used for the film). The three-masted ship was also featured in the 2012 English mini-series...

Do not clarify the issue of the appearance of "Hispaniola" and illustrators. Louis John Reid

Zdeněk Burian and Geoff Hunt show a three-masted sailboat in their drawings. Robert Ingpen, Henry Matthew Brock, Igor Ilyinsky portray a two-masted schooner.
But it was the first illustrator of the novel, George Roux, who brought the greatest confusion. In his drawings, "Hispaniola" appears ... as a brig!

So to what class of sailing ships should the famous Stevenson "Hispaniola" be attributed? Let's try to figure it out.

Perhaps we should start with the fact that R. Stevenson himself clearly indicated in the novel the type of sailing ship chosen for the treasure trip. Squire Trelawny describes the acquired ship in a letter to Dr. Livesey as follows:

"You never imagined a sweeter schooner—a child might sail her—two hundred tons; name, Hispaniola."

"You will never imagine a more charming schooner - a baby can control the sails. Displacement - two hundred tons. Name - "Hispaniola"".

Commenting on the first edition of his book with illustrations by Georges Roy, Stevenson writes in a letter to his father on October 28, 1885:

"... The illustrated edition of Treasure Island will be out next month. I have received an advance copy; these French drawings are delightful. The artist understood the book exactly as I intended it, but made one or two small errors - so, he made "Hispaniola "brig ...".

Considering the fact that the brig is a two-masted sailing ship, and this does not bother Stevenson, we can conclude that it is a two-masted schooner that is described in the novel.

In the essay "My First Book: Treasure Island" (1894), Stevenson, who had practical experience in operating the 16-ton schooner "Heron", reveals the background to the novel:

"... This will be a story for young readers - it means that I will not need either psychology or a refined style; a boy just lives in the house - he will be an expert. Women are excluded. in truth, it is supposed to be a brig), but I think I can manage a schooner without public shame ... ".
For the reader, for whom "schooner", "brig", "brigantine" are only romantic names, we will explain the difference between these sailboats.
All three types of ships can be classified as small and medium sailing ships with two or more masts.
The main difference lies in the features of the sailing rig, i.e. in the shape and number of sails hoisted on the masts of a particular ship.

Brigantine- a two-masted vessel with a front mast (fore mast) having a full straight (i.e. two or three rectangular sails located across the axis of the ship one above the other) sailing rig and with a rear mast (main mast), having a longitudinal hafel (i.e., placed on yards located behind the mast along the axis of the ship) lower sail (mainsail) and straight sails (marseille and, possibly, bramsel) on the topmast (an additional element of the mast).
Brigantines were widely developed in the 17th century. Somewhat later, on the lower yard of the main mast, the brigantine, which was called "dry", since it was not used to set the sail, but served as a support for the rigging that stood above it, the sail - topsail, they began to put a straight sail - mainsail. Equipping the brigantine with full sailing equipment on the mainmast increased the sailing capacity of the ship and the power of its sails.

A sailboat with full straight rigging of both masts and a gaffed mainsail came to be called brig. In the second half of the 18th century, when brigs began to be widely used in the navy, brigantines began to be called brigs, which was greatly facilitated by writers who confused these ships.

Schooners, originate from small ships with longitudinal sailing rig, which in the 16th and 17th centuries were widely used by Dutch and North American merchants, fishermen, privateers and filibusters. end of the 17th century. In 1695, the Royal yacht "The Transport Royal" was built in England, equipped as a schooner. The Admiralty model of this ship is the earliest documentary depiction of the schooner to date.

However, more development schooner received in the North American colonies. It is said that a certain Andrew Robinson of Gloucester, Massachusetts, built such a successful sailboat that spectators who watched the trials of the ship compared it to a flat stone sliding over the water with a skillful throw, exclaiming: "Scoon! Scoon!" Other researchers refer to the laudatory Dutch "schoone Schip" (beautiful ship). One way or another, but already in 1716, the name "schooner" appears in the records of the Boston port. And in 1769, William Falconer (Falconer William) describes the schooner in his maritime vocabulary"A New Universal Dictionary of the Marine".

Thus, in the first half of the 18th century, to which the action of the novel "Treasure Island" refers, schooners were already quite common in England, while the brig was just beginning to be used as a warship. And it is quite natural that the curmudgeon Trelawny bought a cheap, most likely a fishing schooner, which was converted into the Hispaniola.

Another argument in favor of a schooner is the need for a crew less than for a brig or brigantine (recall that the crew of the Hispaniola was 26 people, of which 19 were sailors).

The researchers of the novel consider the route of the expedition to be the most significant objection to the use of a schooner to travel for Flint's chests.
This route ran from Bristol to Martinique at the latitude of Lisbon under the backstay (trade wind blowing astern) along the North Trade Wind Current. Further rise to the north, to Treasure Island and the return journey across the Atlantic to the north, along the Bahamas and Florida to Cape Hatteras and further along the Antilles Current and the Gulf Stream ... Thanks to the Atlantic carousel of winds and currents, Hispaniola, having made a turn clockwise, returned home.
Here, the researchers believe, an unpleasant surprise would have awaited the schooner - to sail under the powerful steady winds of the Atlantic, the schooner, adapted for operational maneuvering and walking steeply to the wind, would have to scour full courses, losing speed and, accordingly, increasing the duration of the flight. In addition, "Hispaniola", according to Squire Trelawney, was threatened by "pirates and a damned Frenchman", and the armament of the schooner was the only small-caliber swivel gun (we will talk about the gun later). The brig "Hispaniola" could have escaped from the brig (marque or pirate), but the schooner had no chance.
But researchers again lose sight of the fact that there were not so many brigs at the time of the Hispaniola, and the pirates preferred sloops (Charles Johnson writes about this in the "General History of Robberies and Murders Committed by the Most Famous Pirates", published in London in 1724). The author of "Treasure Island" was well acquainted with Jones's book and even (it seems) "copied" Flint from Edward Teach, who bore the formidable nickname "Blackbeard".
In addition, already by 1720 piracy was in a severe decline. Former "gentlemen of fortune" either went to serve in the state fleet, or drank themselves without work in port taverns, where, by the way, they were recruited into the Hispaniola team.

So Stevenson's Hispaniola was a schooner. And, most likely, Marseille, i.e. having a straight sail (marseille) on the topmast of the front (fore) mast. The presence of topmasts on the masts of the Hispaniola is indirectly indicated by the salings of the masts, which are mentioned several times in the text of the novel. Saling provides fixation of the topmast and spacing of the top-shrouds for more effective strengthening of the topmast. On the salings of the lower masts, a special platform was installed - Mars.
In addition, a straight sail made it possible to somewhat reduce yaw when moving to the backstay (i.e., with a fair headwind), as mentioned earlier.
By the way, one of the main arguments of the researchers of the novel, who adhere to the version of "three masts", is connected with the salings.
The masts of a sailboat have their names determined by their placement on the ship. The front mast is called fore (German) or fore (English), i.e. "first". The middle mast is called the mainmast (German) or main (English), which means "main". There may be more than one mainmast if the ship has more than three masts. The rear mast is called mizzen (German) or mizzen (English) - "small, last." Mizzen is sometimes referred to as a cruise mast, but this name refers to fully rigged masts.

Two-masted ships, most often, have a fore and main masts. At the same time, the mainmast is located closer to the middle of the hull and has a greater height than the foremast. The exception is two-masted ketches and iols, the front mast of which is higher than the rear, located approximately in the middle of the hull and, as a result, is called the main mast. The second, rear mast of such sailboats is called the mizzen mast.

Stevenson in the text of the novel calls the rear mast of the Hispaniola a mizzen a couple of times:
"... It became light in the barrel. Looking up, I saw that the moon had risen, silvering the mizzen-mars and the swollen fore-zale ..."

"... The shrouds of the mizzen mast hung over my head. I clung to them, climbed up and never took a breath until I sat down on the saling ...".

Most likely, in this case, Stevenson makes a mistake, confusing the sailing equipment of the schooner with the iol.
The decisive argument in determining the number of masts on the Hispaniola, however, should be considered that in the period described in the novel, the schooners, as a rule, were two-masted, as well as the brigs, which never had a third mast at all (and Stevenson, like us already said, believed that the "Hispaniola" should have been a brig). Another quote from the novel speaks in favor of the two-masted version:

"... The mainsail hid part of the stern from me ... At the same moment, the main boom leaned to the side, the sheet creaked against the blocks, and I saw the stern ... ".

Those. the rear, closest to the stern, was, nevertheless, the main mast. And "Hispaniola" was two-masted topsail schooner.

Large fishing schooners (and the "Hispaniola", let me remind you, had a displacement of 200 tons) had two decks, the lower of which was divided into three compartments: the bow, where the crew members were placed; central - hold for cargo, which had a hatch into the underdeck space, which was also a hold; aft, where the galley and foremen of the team, including the captain, were located. The upper deck, which rose about 1.6 - 1.7 meters above the lower one, was flat (sometimes it had low stepped elevations in the bow (half-tank) and in the stern (half-ute)). There were three or more hatches in the deck (in each of the compartments of the lower deck) with ladders, which were covered with rooster bars. Hatches in the bow and stern compartments could have so-called "similar vestibules" - small booths above the hatch.

During the reconstruction of a schooner bought for a trip, similar vestibules, judging by the text of the novel, were expanded to the size of deck superstructures, slightly raising the deck. In the front superstructure - the forcastle, a team and a galley were placed, and in the back, which was a similar vestibule extended to the sides, there were two hammocks for the captain and Mr. Arrow. In addition, the aft compartment of the lower deck was expanded due to the hold and cabins (three on each side) for the passengers of the Hispaniola were fenced off in it. In the stern, due to the baffle and the rise of the deck, a fairly large room was formed for the wardroom. Finally, in the middle part of the lower deck, a separate room for storing treasures was fenced off, leaving a passage on the port side connecting the aft compartment with the bow.

Studying the structure of the ship, built by Yalta filmmakers for the 1971 film, it is not difficult to notice that its appearance largely corresponds to that described in the novel. We see spars and rigging corresponding to the sailing armament of a two-masted topsail schooner, superstructures at the bow and at the stern...
As a claim, one could point to too small (for a 200-ton ship) dimensions and a cannon mounted on a gun carriage.
But the gun issue is debatable. And closer to the truth, it seems, it is the Yalta shipbuilders.
The fact is that Stevenson described in the novel a "9-pound swivel gun", the core for which the gunner Israel Hands "rolled along the deck". After a successful shot at a nimble skiff with the heroes of the novel, the ball, whistling over the fragile boat, raised such a wind that it overturned the skiff with passengers! Apparently, Stevenson was poorly versed in artillery.
There are no nine-pounders on a swivel! A swivel is a metal pin with a "horn" at the upper end, in the fork of which a cannon was attached. The swivel was installed in a special nest on the gunwale (handrail along the top of the bulwark) or in the deck. With this method of installation, a heavy cannon with a heavy core (and a 9-pounder core weighed about four kilograms) and a powerful powder charge would break the swivel and fly off when fired. Therefore, the maximum caliber of swivel guns was 4 pounds. Most often used cannons of 1 - 2 pounds for firing buckshot (small balls, akin to a musket ball) at the enemy crew and boarding team.
Nine-pound guns were mounted on a wheeled carriage and, if necessary, a shot was fired, their barrel was extended into a special opening in the side - the gun port. In addition, the carriage was equipped with a special cable attachment to the side - trousers and hoists, which facilitated the rollback of the gun from the side for maintenance and rolling it into the port for a shot.
Such guns were aimed at the target, as a rule, in a vertical plane with the help of a special wedge placed under the breech of the gun. So, Hands could only get into the skiff maneuvering on the waves by accident.
On the other hand, a nine-pound cannonball would not have been able to raise such a powerful air wave as to capsize a boat. To do this, the gun would have to have a caliber of 32 pounds. But such a gun would be difficult to place on a relatively small schooner, and even when fired, it could easily capsize the ship.
Most likely, the "Hispaniola" was armed with light swivel guns with a caliber of 1 - 2 pounds,

and a gunnery nine-pounder. True, it is not clear - why roll a relatively light cannon ball on the deck that a child could carry in his hands?

One way or another, but the Yalta shipbuilders installed a small (within 2 - 4 pounds) fire monitor gun on their "Hispaniola". The same was present in the frame when filming episodes on board the schooner "Kodor" in 1982.

Unfortunately, time, bureaucracy and business interests did not spare this interesting ship, which confidently plied the waves of the Black Sea under full sail. In addition, the Hispaniola was the first sailing ship specially built for filming a movie, and the Yalta Film Studio became a pioneer in film shipbuilding.
In 1972, the Crimean Inspectorate of the Maritime Register, which did not have a column in its instructions regarding the operation of wooden sailing ships, demanded that the hull be sheathed with metal with asbestos gaskets (to avoid fire) and that radar equipment be installed on the masts, which would be incompatible with appearance old sailboat.
Not wanting to disfigure the beautiful Hispaniola, the film studio transferred it to the balance sheet of Intourist, which installed the schooner on the Yalta embankment near the Oreanda Hotel and converted it into a cafe.

A similar fate befell the training sailboat "Kodor".
The Canadian "Bounty", who starred in several films, died with the captain and one of the crew members in October 2012 off the coast of North Carolina during Hurricane Sandy.

The choice of a prototype for the construction of the model fell on a sail-steam two-masted schooner<Святой мученик Фока>absolutely random. At that moment, when the decision was made to create something flying, driving or floating, the closest thing was the magazine<Моделист Конструктор>#9 for 1986. This number offered for consideration in addition to<Фоки>one of the Tupolev torpedo boats, a racing boat of the F3E class, a method for calculating a home-made ALS was proposed, a couple more articles on the topic of cords. By the way, two articles on sailing were found in the same issue:<Такелаж - как настоящий>And<Ванты для парусника>.
With all the wealth of choice, as they say, there could be no other alternative. In addition, the sailing section of ship modeling until that time was undeservedly ignored by me.

A bit of history.

Starting to study the materials of the mentioned issue<МК>I found out, at least for myself, that it turns out<СВ. МУЧ. ФОКА>(this is exactly what the inscription of the name of the ship looked like on its sides, lifebuoys, helm and ship accessories) this is the ship on which G.Ya Sedov intended to reach the North Pole in 1912-1914.
Built in 1870 in Norway, the ship was intended for sea fishing in the Arctic Ocean. When launched, it was named<Гейзер>and sailed under this name until 1890, then changed owners several times from among the fur merchants, and was assigned to the Murmansk scientific and commercial flotilla.
On July 10, 1912, with the money granted personally by the emperor, Sedov charters and equips<Фоку>for an expedition to the North Pole. The idea of ​​this expedition did not find support from the Main Geographical Directorate and the Naval Ministry, so the government refused to finance this project. The situation was saved by the creation of a committee to raise funds for the expedition. The committee was headed by the publishers of the leading newspapers.
Probably, it was this fact that was the reason that during the 2nd, tragic for the researcher wintering on Franz Josef Land, Sedov renames<Фоку>in honor of the newspaper editor<Новое Время>. The ship was named<Михаил Суворин>. On the ship under this name, having burned everything that could somehow burn in the furnace, the expedition returned to Arkhangelsk.

based on the materials of the magazine Modelist-Constructor and information from the depths of the global network

Model building

From the very beginning it was decided to build a running model. Propeller, steam engine, winches to control sailing weapons. These Napoleonic plans, unfortunately, had to be cut exactly by steam engine. Not all at once, as they say :). Otherwise, we are moving towards the intended goal.

Part 1. Corps.

To create the body of the model, a typesetting method was chosen. This method combines the simplicity of the technological cycle, and the possibility of using available materials, does not require the creation of additional equipment, does not require tedious and dusty fitting and fine-tuning of the body according to patterns: well, I don’t like this procedure.
Having scanned the picture of the theoretical drawing of the hull, I import it into AutoCAD. I put a grid on the image of the body projections, determine the actual scale from it and bring it together with the picture to the scale of the model being made. Next, I manually outline the contours of the frames, the contours of the longitudinal sections, the contour of the keel and stems (Fig. 1).

Rice. 1

When stroking, I use a Spline line, as anchor points I use the points of intersection of the contour with the horizontal grid lines. In this case, each nodal point of the spline will lie in the corresponding plane of the drawing of the longitudinal sections of the hull. If everything is done carefully, this will eliminate errors when building a 3D model.
In principle, this is not necessary. And AutoCAD is optional, and 3D is optional. Whoever is not interested can immediately proceed to transferring the outlines of the frames and keel to plywood:
So I bet on<ровный киль>contour of stems and keel. Yes, I forgot to mention, outlining this line with a spline, I also put the nodal points at the corresponding intersections with the longitudinal planes.
I install the frames with the mesh in their places. I connect the corresponding nodal points of the frames along the grid in a horizontal plane with a spline, starting from the stem (Fig. 2). As a result, I get the contours of sections in the longitudinal plane. I compare them with a theoretical drawing. Match up? Great! We go longer. Something does not match - I'm looking for a reason.

Rice. 2

It turned out that the theoretical drawing is a bit crooked, it needs to be corrected. There is only one criterion for the correctness of the contour at this stage, all lines of the 3D model must be smooth and harmonious, any bevel, any dent will be noticeable. To fix, I use the simultaneous movement of the nodal points of intersecting splines only along the line of junction of the planes of these splines, otherwise the structure may break like a house of cards :)
I figure out how thick the skin will be, and by this amount I narrow the contours of the frames with the Offset operation. Everything, then I work with the resulting contours of the frames. The lines of longitudinal sections are no longer needed, and they can be removed, but I leave them for beauty.
I connect the extreme upper points of the frames with a spline, it turns out a 3-dimensional contour of the tank and the gunwale of the bulwark. From the top view, I transfer the upper contour of the transom.
Starting the stage of drawing the internal contours of the frames (Fig. 3), I had to decide on some design parameters of the future hull. The width of the futoxes and the height of the keelson were chosen based on sufficient structural rigidity, the presence or absence of a deck beam was determined by the need to provide access to the actuators. Deck back knees needed to provide structural rigidity were drawn<на глаз>. The thickness of the top-timbers in the area of ​​the bulwark was determined according to the drawing of the top view and the front view, in the area of ​​the poop superstructure -<на глаз>.

Rice. 3

The line of the forecastle deck, waist, superstructure, poop and poop was taken from the image of the section of the vessel along the vertical longitudinal axis. The contour of the deck was obtained by connecting the points of intersection of the inner contour of the top-timbers and the upper contour of the beams. Next, I expand the deck contour to a horizontal plane and get<выкройку>decks. I do the same with the transom, turning it to the appropriate plane.
I printed out the contours on a plotter, so I arranged everything on one sheet (Fig. 4), of course, you can print on A4 formats with subsequent gluing.

Rice. 4

I cut the keel with stems and frames from a sheet of 4 mm plywood. There were no problems with the frames, but the thickness of the keel had to be at least doubled. The fact is that after the installation of the frames on the keel and the broach of three stringer belts, the torsional rigidity of the structure turned out to be insufficient, and before I had time to glue a certain number of planks of the skin, I had to constantly control the withdrawal of the hull, constantly control<пропеллер>. Hence the moral: until sufficient rigidity of the hull for bending, torsion, stretching and shear is ensured, you cannot remove the hull from the slipway, under any pretext :)
Pine slats with a section of 4x4 from the sides of the frames and 3x3 below deck were used as stringers. The gunwale and the forecastle deck were cut from a single sheet of 1 mm plywood.
Because at the beginning of work with the model, I did not plan to take photographs - there is no photograph of the slipway and the stage of assembling the skeleton. On fig. 5 I tried to somehow rehabilitate myself. :)

Rice. 5

The same millimetric plywood was chosen as the material for the rough sheathing. Strips 6 mm wide were cut on A4 guillotine office scissors. The length of the slats turned out to be 350 mm, so when sheathing the hull almost 700 mm long, it was necessary to use two slats per belt. Plywood was cut in such a way that out of its three layers of veneer, two extreme ones were cut across, and the middle one was cut along. The result was rods with better flexibility than 0.5 mm thick veneer rods. Thus, it was not necessary to resort to steaming the rails.
Sheathing was carried out in several stages. At the first stage, a section near the keel and bulwark was sheathed (Fig. 6).

Rice. 6

To form the transom behind the last frame, a piece of frozen polyurethane foam very high density. You can get such material by injecting a portion of mounting foam into a container with water. Solidification occurs very quickly and the density of the resulting material is quite high.
I first gave the glued piece of foam the shape of a transom, glued the transom itself, and then turned the foam from the bottom side. Figure 7 shows this section of the hull with several rows of rails already applied. The assembly was carried out with the help of Moment-Stolyar glue and tailor's pins. Pins made of steel wire 0.4 mm thick were stuck in and out with small pliers. By the way, despite the rather serious bending of the rails in the transom area, the pins stuck into the foam did their job quite well.

Rice. 7

The deck was also cut out of millimetric plywood along the contour of the virtual scan.
It was possible to outline it according to the hull under construction, but I decided to check the accuracy of the assembly and the percentage<попадания>. Fortunately, everything came together quite accurately. On fig. 8 and 9, the joints between the slats of the skin and the fixation of the glued deck are clearly visible. For the convenience of installing the deadwood and processing the underside of the deck, I decided to install part of the skin at the end of these works.

Rice. 8

Rice. 9

Rice. 10. This is how the feed looks from the inside. The foam is cut to the level of the poop deck.

Rice. 11. Gluing the gunwale in the stern area.

Rice. 12. Hatches are cut out for access to servos: the model is running.

The cutout for the stern tube (Fig. 13) was made using a straight grinder with an extension cable. As it turned out, a very useful machine, and undermine the rail, and drill a groove, and with the help of an extension cord, you can crawl into the most inaccessible places of the model.

Rice. 13

Rice. 14. Fitting. Experienced ship modellers can easily recognize in this tube the knee of the telescopic antenna of the radio receiver :)

My second serious mistake after<пропеллера>. Having not fully thought through the plating technology and the order of the rails, I was faced with the fact that I had nothing to attach the rails of the middle belt in the area between the first and second frames. In the case of the stern, everything was visible and clear from the very beginning, but here I had to be smart. Deciding to use the foam again (Fig. 15), I almost ruined everything. I poured the montage into the niche and joyfully grabbed the camera. The most interesting was waiting for me ahead. The foam hardens when it absorbs moisture, so the hardening comes from the surface and the deeper, the longer. This expands the foam. At the beginning, expanding, it pushes out a rather soft, airy mass, and as the foam hardens, it becomes a very bad piston. The consequences of this process became obvious to me when the slats around the holes began to change their natural deflection, I had to literally scoop out the semi-hardened mass and not move away from the model until the growth stopped completely<раковой опухоли>:) A wet compress on the nose of the model and a glass of tea as a sedative to the creator helped a lot.

Rice. 15.

Rice. 16. This is what it looked like after the polyurethane foam epic

The final stage of the rough sheathing comes down to trying on, fitting and grinding in a certain number of wedges and grooves. As a result, in Fig. 17 side of the body looks like a bristling hedgehog.

Rice. 17

Rice. 18. This is how I got the laying of the rails in the cheekbone area.

I covered the inner surface of the case with two layers of 0.03 mm fiberglass on epoxy resin. Epoxy resin for the first layer, it was diluted with ethyl alcohol in the ratio of one part of the finished resin and one part of alcohol. The wrong side of the deck was covered until the slats were completely laid. Dark stripes at the joints of the rails (Fig. 19) are glue that has changed its color<Момент-Столяр>. This happens when this glue interacts with the adhesive layers of plywood laths. On the outer surface, the adhesive traces were wiped off with a damp sponge, so such stripes are not visible there.

Rice. 19

Then sanding and sanding, and then again sanding and sanding. The case turned out to be quite even, and the removal of the surface for painting was not required, so the surface was not particularly clean. Basically, a line was drawn along the keel and stems. Putty<Пиноколор>Acrylic water-borne, imitates the color of wood, so it can be used on fine veneer sheathing.

On fig. 20 putty with birch color.

Rice. 21. I begin to sheathe the superstructure of the poop.

Rice. 22. Another view with an already sheathed superstructure. It is clearly seen that it will be necessary to add frame simulators along the bulwark.

Rice. 23. Pasted mizzen partners. A stern tube and puddles of hardened resin are visible.

Rice. 24. It was necessary to draw out the edging of hatches very carefully. A chute is formed into which a sealing cord is laid.

Rice. 25. Here, this is how it looks from the outside. As a sealing cord, a rubber cord with a diameter of 3 mm was taken, which is widely used by fishermen.

Well, at the end of the story about the construction of the schooner hull<СВ. МУЧ. ФОКА>Here is a list of the materials I used:

• five-layer plywood 4 mm thick;
• three-layer plywood 1 mm thick;
• pine slats 4x4 and 3x3;
• pine slats 25x4;
• fiberglass 0.03 mm;
• rubber band, diameter 3 mm;
• thin-walled brass tube, inner diameter 4 mm;
• PVA glue<Момент - Столяр>;
• epoxy glue<ЭДП>;
• water-borne acrylic putty<ПИНОКОЛОР>;
• pins, stationery clothespins.

Part 2. Model drawing.

We start working on the model with the choice of a prototype and scale.
These two factors are interrelated, since the size depends on them. future model and, as a result, the amount of materials for its construction.
You can take on the construction of a model of a multi-gun battleship on a scale of 1:50, which will allow detailed and high-quality detailing (for example, a gun a couple of meters long in the "50th" scale will have a length of 40 mm). But it should be noted that the model itself will be released in length and height of more than a meter.
To build a model up to 50 cm long, you can scale it down to 1:150 - 1:200. But then you will have to make a lot of the smallest details and elements (the length of the same gun will be reduced to 1 cm), which will inevitably affect the quality of detailing and the appearance of the model as a whole.
Therefore, to build a high-quality model of a small "desktop" size, it is desirable to choose small prototypes, which will allow, while maintaining the declared size of the model, to choose a larger scale and, accordingly, the possibility of better detailing.

On the other hand, the choice of model scale may be dictated by available materials.
For example, Vitus Bering's packet boat model "Saint Peter" was created on the basis of an existing hull from another model, which dictated the choice of a scale of 1:180.

This is the way I will go when building a new model.

1. SELECTION OF THE PROTOTYPE MODEL.

The hull of the aforementioned packet boat is carved from a single block of wood.
I will use the same technology to build a new model.

For the body of the future model, I intend to use a bar from the box packaging of the refrigerator.
This bar has a section of 48 mm by 35 mm. This means that the body of the future model should be no more than 50 mm wide (including skin).

Having previously selected the scale of the future model 1:100, I calculated that the width of the prototype hull along the midsection (in the widest cross section body) must be within 5 meters. This parameter is inherent in small one-two-masted sailboats such as yachts or schooners.

After reviewing the drawings of such ships on the Internet, I chose the two-masted topsail schooner "Hannah" with the hull parameters: length 17.5 m and amidship width - 5.2 meters.

On the net, you can find specialized sites that offer the user ready-made drawings for building a model on a certain scale. However, in order to correctly download and print them, a special program is required.
In addition, it is not always possible to get ready-made drawings - sometimes you have to use drawings from books or magazines.
The official drawings of the schooner "Hannah" have not been preserved.
When building a model, modelers usually use drawings and descriptions from Harold Hahn's book "The Colonial Schooner 1763-1775".
I took these drawings as a basis for the development of working drawings of the future model.

Often, drawings taken from books or magazines have to be adapted to work with them.
I downloaded the images containing the drawings and printed them out on plain A4 sheets of paper.
The drawings did not turn out to the scale indicated on them. In addition, different sheets differed in scale from each other.

It was necessary for me to reduce all the sheets to a single size, and then bring this size in line with the chosen scale of the future model.

2. REDUCING THE DRAWINGS TO A SINGLE DIMENSION.

Choosing on each of the printed sheets the same element, the length of which can be measured (in my case it was the length of the keel on Sheet 2 = 182 mm), I compared it with the length of the corresponding section on Sheet 1 = 97 mm.
Using the resulting magnification factor of 1.88, I was able to complete the missing elements on Sheet 2 (spar, rigging).
Then, similarly, using the heights of the frames shown on Sheets 2 and 3, I obtained a reduction factor for Sheet 3 = 1.15 and brought the image from Sheet 3 in line with the main drawing on Sheet 2.

3. CALCULATION OF THE SCALE OF THE DRAWING.

The so-called "scale bar" is printed on Sheet 1, which I carefully, using a factor of 1.88, transferred to Sheet 2, which became an "intermediate" drawing of the future model.

"Scale bar" sets the ratio between the length of the unit of measure in real life and in the scale of the drawing, i.e. one division of the "scale bar" in the drawing, in this case, corresponds to 10 feet (3000 mm) of the actual length of the vessel.
Measurements and calculations showed that the "intermediate" drawing I received was made on a scale of 1:76.
Based on this, I was able to calculate the dimensions of the elements of a real ship.

Knowing the actual width of the ship (5168 mm) and the required width of the model (45 mm), I calculated the scale of the future model - 1:115.

Based on these calculations, I drew the final "working" drawings for building the model.

Sailing ships are divided into frigates and battleships. The most powerful three-masted ships are battleships, which are characterized by displacement, armament and crew strength.

This class of sailboats originates from the seventeenth century, with the advent of artillery (cannons) that can conduct a linear battle (simultaneously from all onboard guns from the side line).
In an abbreviated version, they are called "battleships".

Drawings of models can be downloaded for free, on the website or from other sources.

In May 1715, the Russian cannon battleship 3rd rank Ingermanland (64 guns) was launched from the Admiralty shipyard in St. Petersburg. Peter I himself took part in the development of his drawings. The battleship had impressive dimensions for that time: length - 52m; width - 14m; hold depth - 6m. Peter's golden standard flew up from his mast. This ship was for a long time the flagship of the Russian fleet.

Ship ranks in the sailing fleet:

• The first rank is a three-deck or four-deck, the largest sailing ship (from sixty to one hundred and thirty guns).
• The second rank is three-deck (a ship with three decks) (from forty to ninety-eight guns).
• The third rank is two-deck (from thirty to eighty-four guns).
• The fourth rank is two-decker (from twenty to sixty guns).

L "Artemise

L "Artemis was a cannon frigate of the French fleet. Magicienne frigate class, weight 600 tons, 32 cannons on board, of which 26 were twelve-pound long guns and 6 were six-pound ones. The frigate was laid down in Toulon in December 1791. It had a length of 44 meters 20 centimeters .

Frigates were called military one-deck or two-deck three-masted ships. They differed from battleships in their smaller size. Their purpose is cruising service, reconnaissance (long-range), a surprise attack on an object with the aim of further capture or destruction. The largest models were called linear frigates. According to statistics, more frigate models are downloaded for free than battleships.