перевод
Глава 28. Sides & Rails (p.1)
04.11.2026
1/
Channels.
Since these anatomical elements appear radically different depending on the viewing angle, I decided to seek the truth in other sources. I examined dozens of photographs of museum specimens, as well as numerous technical drawings, and realized that their appearance can vary significantly. In some cases, there is a decorative plate covering the end, while in others, it is absent—so I decided to go with the most common configuration. There will be slots in specific locations for the chain-plate (deadeye-holder) fittings, which will be secured by bolts and left uncovered by any decorative trim.
So, we begin all work by calculating the positioning of the shrouds and stays. To do this, I had to cut an opening in the building frame (slipway).
Calculating the positioning is crucial, especially when precise blueprints are unavailable (though it remains highly important even when they are). You must ensure that the channels are placed correctly, that the chain-plate mountings do not interfere with the gun ports or the bolts on the hull planking, and that they align properly with the ship's frames.
I started by making a template for the channels; once all the positions aligned and there were no conflicts, I crafted the actual parts. I will create the chain-plate mounts and the corresponding slots for them later, when the time comes. For now, I will simply make the channels and glue them onto the hull.
I use pins for precise and easy positioning during the gluing process. They also serve to further reinforce the bonded joint. To ensure the holes align perfectly, I first drill them into the main body; then, I secure the channel in place with clamps and use a drill bit from the inside to mark the corresponding spots on the channel’s inner surface. Next, I drill those holes—holding the piece by hand—and glue the pins in. This ensures they align perfectly with the holes in the main body.
I glue the channel in place using PVA. While the PVA begins to set, I hold the parts together with clamps. Next, I apply CA (cyanoacrylate) gel to the pins from the inside. After five minutes, I remove the clamps; at this stage, the Titebond II has not yet fully hardened—it has a rubbery consistency—which allows me to trim away any excess with a scalpel, carefully cutting it out from the corner. I make an effort to mask off surfaces that are difficult to clean later, using painter's tape. You shouldn't remove the PVA immediately, but you also shouldn't wait for it to cure completely; otherwise, you’ll either smear it around or find it extremely difficult to remove. Furthermore, any remaining PVA film will resist oil finishes, which can lead to an uneven, blotchy appearance. Therefore, while the PVA is still in that rubbery state, it must be scraped off the surface entirely.
And here is the finished result. It might look like a simple component, but that’s far from the case...
