Chapter 22. Rigging tests.

 

03.08.2026 (05.2024)

 

   До такелажа еще далеко, но уже сейчас нужно планировать некоторые узлы, которые так или иначе контактируют с тросами и канатами. Эти расчеты я делал еще для Виктори, но так как я уже не планирую делать для нее такелаж, всю эту информацию я переношу в эту ветку. Эта глава будет еще наполняться в процессе новых тестов и экспериментов.

И вначале немного о теории. 

 Если говорить простым языком, то бегучий такелаж - скручивается в одну сторону из 3 пучков нитей. А стоячий такелаж - скручивается в другую (противоположную) сторону, но уже из 3х готовый нитей бегучего такелажа. Потому текстура у них разная. На фото ниже видна разница бежевых и черных канатов.

В интернете много об этой теме, можно ознакомится более детально. А пока я покажу, как я изготовил из подручных средств...

 

Cable-Rope Machine. 

Существует 2 вида: горизонтальный и такой как у меня -  вертикальный тросомот. Принцип его очень прост. Главное, чтобы было Три одинаковых шестерни для крючков навивки и одна центральная, которая их объединяет. Движение может быть направленно как к ней, так и к любой другой точке. Главное, чтобы одна центральная шестеренка соединяла три абсолютно одинаковые шестеренки для крючков. 

В интернете есть много вариантов изготовления, и я показываю свой, полностью рабочий вариант, для понимания принципа. Может кому-то это поможет сделать похожий.

 Итак. Для начала нужно зафиксировать шестеренки между двумя пластинами. Шестеренки и пластины можно изготовить из чего угодно, главное, чтобы три шестеренки были одинаковые (но я уже об этом говорил). 

Для плавного хода - лучше использовать подшипники и смазать их маслом..

Я использовал в качестве мотора портативную бормашинку. Для этого я сделал специальный держатель. Можно использовать что угодно, что может вращать шестерни, главное иметь регулировку скорости и Реверс!

I fixed hooks on the 3 working axes (gears).

А через специальный переходник соединил ось приводной шестерни с осью мотора, который зафиксирован на коробе-держателе.

This motor is controlled by a foot pedal, which is convenient because you can stop and restart the process at any time. And the variable speed reverse is crucial!

The cable release is fixed to a regular door with two screws screwed into its end.

I attach the threads to the jar from below using hooks. This is convenient for thin threads because you can adjust the weight by filling the jar with weight.

It's important that all the threads are equally taut! Otherwise, sagging threads can cause knots, which will result in a defective finished rope.

The degree of twist is also important. If the twist is too loose, the thread will be loose and have an irregular pattern. If the twist is too tight, knots may form or the thread may simply break.

Twisting reduces the length of the thread. You want it to decrease by 10-15%. However, testing is necessary. This percentage may vary slightly for different thicknesses and other factors, but this is a guideline.

The more threads, the more weight you need, otherwise the rope will begin to form loops when twisted. Weight selection should be done empirically. There are no universal weights; everything is learned through testing and trial and error.

 

Now, about the threads. 

I don't use already dyed threads. I buy only milky color (not completely white, namely milkweed, the main thing is that the color does not turn blue). Why white and not the color of the rigging?...

Even if you choose the perfect color that suits you, threads made of 100% polyester have a shine and this does not look natural on the model (in my opinion). You can, of course, use cotton, but it has lint, and that’s just taboo for me! Getting rid of it is completely impossible and very time-consuming. That’s why I use only 100% high-quality polyester and dye the threads myself. I have already decided on the color scheme. I like Dmitry Shevelev's version and his second 75-gun the most. So I will paint these colors, but more on that below.

I use two thread options:

Gutermann Scala 320, color 111 milky, and

Amann Serafil 120/2 180tex 16, color 1000 milky.

I use Scala for very fine threads or fine checkering.

Thread thickness up to 0.1 mm. A twist of two = 0.15 mm. A twist of three (1x3) = 0.17 mm. A twist of two by three (2x3) = 0.25 mm.

But the most effective thread has proven to be Amann Serafil 120/2.

I also use it for checkering and can also make 0.25 mm, but anything up to 0.2 mm is Scala.

Amann Serafil 120/2 (I was told this thread is 180tex 16, but the label said 120/2, so both values ​​will be listed in the description).

 Running rigging up to 1 mm and standing rigging up to 0.63 mm were made from threads, simply twisted in different directions, since standing rigging at this size is impossible to see. As for the 0.75 mm ropes, I spun all the ropes from pre-prepared threads for running rigging. However, since these calculations were for Victory, this information is still preliminary. On Alert, standing rigging thicknesses start at over 1 mm, so all these values ​​simply show the dependence of the finished rope thickness on the thickness and number of threads.

 

I'll start with some unsuccessful attempts and recommendations on what not to do.

1. Why I abandoned the Gutermann Mara was because of the lint. Why I didn't use the Gutermann Scala 360 for thick ropes and cables (only thin ones) was because, firstly, it wastes a lot of thread, and secondly, it's not always possible to twist it tightly without creating knots. That's why I only used the Gutermann Scala 360 for up to 0.2 mm.


2. Why shouldn't you twist ropes for standing rigging the same way as for running rigging (we're talking about ropes thicker than 0.6 mm)? Firstly, it's wrong and it just doesn't look good.

A proper rope (bottom right), and a "smoker" rope on the left. What's wrong with the one on the left? Firstly, the pile; secondly, it's a twist of individual strands, not pre-twisted strands (running rigging).

3. Below is a cable of good (tight) and weak winding.

 

Now, let me show you some successful experiments!

Photo below. Gutermann Scala 360, 0.25mm thick.

Below where Serafil 180 is indicated, remember that there is Amann Serafil 120\2.

And below are the ropes for standing rigging, made of 3 pre-braided cables (running rigging).

Also, don't forget that scale is scale, but for better perception you can increase the threads by 10-15%, but at the same time check how it will look with the surrounding details.

One piece of advice: make samples and try out different sizes and combinations before making the original.

 

Rigging paint.

I'll describe two options. One is in the color scheme shown in the photo below; perhaps some will prefer it:

 Black rigging (standing) didn't exist in nature. This color was dark, but not black. Closer to a very dark brown. I do this color the same way in both versions. But the running rigging here will be reddish. It's not exactly like it was in real life, but it looks good with the museum style next to the bitumen.

To achieve this color, we need two oil paints. (Note: Keep an eye on the expiration dates on the paints, as they may not produce the desired result after they expire!!!)

To achieve a dark brown color (for standing rigging), I made a sample with the following proportions:

5 ml linseed oil + 5 ml thinner + natural umber (4 brush lengths).

Note! Odorless thinner, available at art stores, is used to thin oil paints, as white spirit is simply a stinking poison. Four brush lengths equals four stripes of paint squeezed out the entire length of the brush, or 12 mm, four times. To make a larger solution, increase all ingredients proportionally.

To achieve an orange-brick color (for running rigging), you will need:

5 ml linseed oil + 5 ml thinner + golden ochre (4 brush lengths) + natural umber (1/5 brush lengths, no more).

Note! If you add more umber, you'll get a completely different color, and it'll be very difficult to create the desired color from that. Therefore, it's best to add umber in very small doses.

And this is the result. By the way, the photo shows a color where I added more than 1/5 of the umber (it's the second color from the right). But maybe someone will like this exact color, so you need to experiment.

 

But I liked the second option even more, as in Dmitry Shevelev’s 2nd 75-gun version.

To create this palette, you'll need:

For the standing rigging, dark brown, similarly:

5 ml linseed oil + 5 ml thinner + natural umber (4 brush lengths).

(Note: Odorless thinner, sold at art supply stores, is for thinning oil paints, as white spirit is simply poisonous. 4 brush lengths equals 4 strips of paint squeezed out the full length of the brush, or 12 mm, four times. To make a larger solution, increase all ingredients proportionally. Same as in the first option.)

And for the running rigging, you need a different ochre, yellow!

And these are the proportions:

5 ml linseed oil + 5 ml solvent + Yellow Ochre (3 brush lengths) + Natural Umber (1/4 - 1/2 brush length, no more).

Note! If you add more umber (3/4 or more), the color will be different. But here, unlike with the golden color, you can correct this by adding oil, solvent, and ochre, while reducing the umber ratio.

And I like this result (pictured below) better! I'll probably settle on this one, but! These photos were taken against a Victory background. So, in the future, I'll try dyed threads against an Alert background, and then I'll make a final decision.

In the two photos above, in order: on the left is standing rigging (umber); in the center are three yellow ochre + umber 1/4 tassels; the two on the right are 1/2 tassels (hence the slightly darker color). This is a good place to play around. And where there are multiple strands of running rigging, some are 1/4 tassels and others 1/2 tassels, as an option.

The photo below shows the leftmost rope with checkering. I did it like Shevelev. First, the rope is dyed umber, then impregnated with cyanoacrylate for rigidity during checkering. Then comes the checkering itself, and then the entire finished rope is painted. I used Amann Serafil 60 for the checkering, so the color is slightly different after painting, as the thread is not milky, but whiter. I'll experiment with this further. Plus, I did a trial run of the knitting, which required weaving in thin threads, and I'll talk about that later.

 Ultimately, I liked the samples, and although I still have a lot of tweaking to do, the intended result is clear and I'm tentatively happy with it. The final choice will be made against the finished Alert body, coated with oil and bitumen... then it will be clear which color is preferable.

 

Next...


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