Finishing the hull of a ship model. Sailing modeling

Two plating methods have long been used on sailing ships.

Sheathing "covered"
The most ancient method of cladding a type-setting building, known in Egypt and Phenicia since the third millennium BC, is “overlapping” or clinker cladding, when one belt of cladding boards overlaps the adjacent one and is fastened with nails.
This is how most ships were sheathed until the end of the 15th century.
To this day, clinker lining is used on boats and similar small vessels.

Sheathing "smooth"
This type of plating, which is more technologically advanced and has better seaworthiness, completely replaced clinker plating on large ships already in the first half of the 16th century.
On relatively small ships, single-layer sheathing was used, and on larger ships, two-layer sheathing was used, in which the seams of the outer layer were offset relative to the seams of the inner one.
The length of the cladding boards was 6 - 8 m, the width was up to 10 inches or 25 cm (1 inch = 2.54 cm), and the thickness was up to 6 inches (16.5 cm).
The sheathing was secured with iron, copper or wooden nails(dowels).

Veneer selection
Choosing veneer for hull cladding is probably the most organizationally difficult part of the work - everything will depend on what you managed to get. Therefore, it is quite difficult to recommend anything specific here, and I described the basic requirements for veneer at this stage in the first chapter.
There I said that distinctive feature Russian school of ship modeling There was a desire to use the natural color of wood as much as possible, matching it as close as possible to the painted original. If you want to work in this technique, you need to take this into account when choosing veneer colors.

What a fragment of the hull of a battleship made using this method might look like can be seen in the photo on the left.
But the hull of the ship "Ingermanland", a fragment of which is shown in the photo on the right, is made of plain veneer with a decor of colored paper and black velvet.
For covering the upper part of the side, which does not have a curve at the bow end, in principle, any veneer of the appropriate color and texture is suitable. You just have to avoid a textured pattern that is too large - it will look a little awkward on the model. And, in addition, such wood often has a very large-pore structure, which in the future will not allow achieving high-quality surface. When choosing veneer by color, keep in mind that after varnishing it darkens significantly. What it will become after this can be checked by wetting its surface. With the plating of the lower part of the side, and, moreover, the underwater surface, everything is somewhat more complicated.

From my own experience I can say that the best chances to choose suitable breed will be among the light varieties of mahogany. Unfortunately, I don’t know their exact species names - tropical species have dozens of them, but in our country they are all known under the name “mahogany”. The simplest way Determine whether the piece of veneer you have chosen is suitable for this - cut a strip of about 5 mm wide from it and, carefully but firmly, pressing with your fingers, try to bend it around the ribbed plug from the “Moment”. It may seem incredible at first, but ideally a strip of wood from some species can be wrapped around a cork without breaking. The ribs of the cork will slightly break the fibers of the inner surface, making bending easier, and it is enough large diameter will not allow the strip to break.
If you succeed, consider yourself lucky - such veneer will fit perfectly. If not, try taking some kind of cork with a similar surface, but larger diameter, and try rounding the veneer on it. If this doesn’t work, and there is no other choice of veneer, you will have to soak the veneer strips in hot water, give them the required shape, dry them and only then sheathe them. I have not had to successfully resort to this method, which is why recommendations based on personal experience I won't give it. I will only say that after drying, veneer warps and it becomes more difficult to work with them, but in extreme cases, such a way out is possible.
We will assume that you have decided on the choice of veneer, have a sufficient supply of it to be able to afford to ruin several sections until you acquire the necessary skill, and are ready to start working.

Cut the veneer
A plastic ruler is best for cutting strips. Wooden is completely unsuitable - after a few inaccurate movements, cut areas and nicks will already appear on it. The metal one is also not good - here you can accidentally ruin the knife. Perfect option- a ruler made of transparent plexiglass, so that you can see what is under it - sometimes this helps a lot in your work. If it doesn't have holes at the ends, drill it - it will come in handy.
It is most convenient to cut on a strip of plywood into which three nails are driven. For two of them, the distance between which should be greater maximum length strips, the ruler is supported when cutting, and the third passes through the hole in the ruler and prevents it from moving along the cutting line. It is more convenient to drive it in from the right.
You need to make some kind of backing for the plywood on which you will cut. It can be linoleum, PVC tiles or just thick, not necessarily thick, cardboard. I use backings made from double-glued cardboard from milk cartons. It’s never a pity to throw away the cut one and make a new one. Fortunately, the material is always at hand. The backing does not need to be attached to the plywood; it is better that it can be moved and the cut will go to a new place.
You should not try to cut veneer by simply pressing a ruler with your hand, as when drawing. The knife is so persistently trying not to go in a straight line, but along the line of grain, that it still won’t work. Even just the first two of the nails mentioned do not always help: if the wood is hard enough, when you press the knife hard, the veneer will “crawl” from under the ruler along with the plywood.Therefore, take a few minutes and make the above device approximately as in the diagram on the left.

The same diagram shows how best to position the veneer sheet when cutting. Pay attention to the direction of the fibers - they should move slightly, just a little, away from the ruler in the cutting direction, and not go under it. Otherwise, the knife will try to “rip out” the veneer sheet from under the ruler, and eventually, sooner or later it will do this. Otherwise, the knife will simply go up along the grain, leaving the veneer in place. Such a “failure” is much easier to correct.
When cutting, you should not try to cut the veneer in one pass. Wood fibers need some time to deform. Therefore, when you press hard on the knife, there is a greater likelihood of an advanced crack forming in front of the cutting edge, as a result of which the fibers will break before the tip of the blade has time to pass through the veneer and, accordingly, the cut line will be less even.
As already noted, veneer has a front and back side. Accordingly, the back will be glued, and the front will then be sanded.
Before cutting strips for plating the freeboard part, it is necessary, using the drawing, to calculate their width.
When cutting, due to the wedge-shaped shape of the knife, the fibers of the upward-facing layer are wrinkled quite noticeably, and the fibers of the lower layer are simply cut. As a result, the cross-section of the strip has a trapezoidal shape, as in Fig. on right. Naturally, when gluing veneer on the bottom (according to the picture) surface, significant gaps will remain between the strips due to crumpled fibers, and when gluing on the top surface, the strips will lie almost close to each other.
From the above it is clear that when cutting, the wrong side of the veneer should be facing upward. How to determine it has already been said, but having done this, you should immediately shade the sheet, so that later, after cutting, you can immediately see which side of the strip to coat with glue.

One end edge of the sheet on the reverse side should also be clearly marked with a colored pencil or marker. This will then help you immediately, without looking at it, determine which edge of the strip is perpendicular (it remains under the ruler when cutting) and which is beveled. It can be convenient to see all this when sheathing the hull, especially the underwater part, in order to form the highest quality surface, without gaps and cracks.
When cutting, you need to make sure that the marked edge is always on one side. Left or right - it doesn’t matter, but with one. If you need to unroll a sheet of veneer, you should cut or clean off the markings and apply it to the other end.
Starting to cut the veneer, mark the velvet lines on the side surface, and calculate the approximate width of the cladding strips, taking into account the selection of veneer by color. The same markings will help withstand the necessary bending of the strips when gluing.
In serious modeling literature Recommendations are given for simulating a set of sheathing from individual boards. But in our case, due to the small scale, attempts to do this will not give any visible effect, and may even bring a negative result. High-quality solid smooth cladding will look much better.
Optimal width strips, which are convenient to work with, range from 3 to 6 mm, depending on the curvature of the body outline and the elasticity of the veneer. Strips of greater width usually bend poorly in their plane, although in those places where the continuity of the skin is not important, for example, on the sites of future cannon ports, it is quite possible to break it without compromising the appearance.

Sheathing
Sheathing the surface of the side usually does not present any particular difficulties. The outlines of the nasal tip on it are close to cylindrical, and covering them with veneer is quite simple. Before starting, mark the center line of the body surface with a pencil. This will allow you to maintain the symmetry of the skin. After this, you can proceed directly to the casing itself.
From my own experience, I can say that it is most convenient to apply glue to both sides at once in strips wide enough to glue six to seven strips of sheathing in one go.
Where the ends of the strips form curvilinear contours of the nasal extremity, after applying the glue, immediately before gluing, they must be bent using a cork from “Moment”, using the method described earlier when testing the veneer for elasticity. The very tips: about five millimeters - you can even break them additionally to avoid their further peeling off.
It is very important to carefully ensure that there are no areas of surfaces left uncoated with glue, both the body and the veneer. Even if at this stage the incomplete gluing turns out to be unnoticeable, then later during sanding, and especially during finishing, the unadhered sections of the veneer will almost certainly fall away, forming bubbles, “siskins,” as carpenters say, and it will be quite difficult to correct them. It is also important to grind the veneer as thoroughly as possible when facing.
Sheathing the underwater part is somewhat more difficult (it’s good that this operation comes second, when you already have a certain skill acquired in a simpler area!).
Here the nasal extremity takes on the appearance of a spherical surface, the lining of which flat sheets veneer will require some experience.
To begin with, I will say that the cut of the strips for this part will be different - it is more convenient to cut the strips not equal in width at both ends, but wedge-shaped. One end is narrow, no more than 1-2 mm wide, and the second is about 6-7 mm.

Before bending the cork, the wide ends must be cut with scissors, giving them a shape approximately as in Fig. left. It is necessary to cut in such a way that when applied to the body, the cut edge will lie close to the strip glued earlier. In this case, the strip is held with the glue facing up, then the fibers will be deformed in such a way that when gluing, a smaller gap is formed, according to the principle described in the commentary to the figure above.
In general, it is better to smear and glue the strips in such a way that their beveled edge adjoins the strips glued earlier - this creates a tighter joint. Marking one end edge, which was mentioned earlier, helps you avoid looking at each strip separately.
Strips are glued, as a rule, alternating such cut wide ends with narrow ones, which can easily be given the necessary bend.
The shape of cutting the wide end is determined intuitively, “by eye”, therefore, until sufficient experience is gained, it is worth cutting some of them before applying glue and, bending it on the cork, attaching it to the body to see how it will lie and, perhaps, adjust its contour .
Sometimes it is possible to apply a strip by slightly breaking it in several places, or by making small notches on one of the edges on the wrong side with the tip of a knife. In the future, when grinding in the skin, grinding and finishing, these breaks and notches will become completely invisible, unless, of course, they are abused.
In general, properly selected wood, due to its porous structure, is quite capable of taking and maintaining the required shape, deforming under load, which makes it possible to avoid particularly careful fitting. But only if it is carefully glued. The “Moment” layer when lining the nasal surface should be especially dense, because The loads on the adhesive joint here are quite significant. Therefore, if the gluing turns out to be weak, the cladding may fall behind during further finishing.
As the skin approaches the keel area, it begins to show that the middle part of the hull is somewhat wider than the bow and stern. Therefore, the skin strips begin to bend more and more. To make work easier, some of them can be made tapering at both ends. Again, it’s quite acceptable to break one or two.
It is best to complete the sheathing directly on center line. As a rule, achieving a high-quality last joint is the most difficult, but in this case it is not necessary because here this joint will later be closed by the keel and stem.
If, despite all efforts, any noticeable cracks have formed, they can be sealed in two ways.
Firstly, you can glue onto the PVA thin shavings of the same veneer cut with a knife as the sheathing itself, then, after drying it a little, rub this place with the handle of a knife, and let it dry completely. The second option is to fill the gap with thick PVA, scrape the smallest shavings from neighboring areas into it with a knife, compact it with the tip of the blade and again dry it well.
It is better to cut off the ends of the strips protruding beyond the transom, leaving an overhang of about 5 mm.. It is not worth cutting them immediately flush with the plane of the transom: this will pose a greater risk of damaging the “finish cut” during grinding.
When the sheathing is completely ready, these ends must be glued with PVA with reverse side along the transom contour line to avoid accidental chips during further processing.

Grinding
For preliminary sanding of the skin, sandpaper with a grain size of 10 - 16 according to GOST 3647-80 is better suited. The higher the hardness of the wood, the finer the skin should be. Small sandpaper on soft wood will become “greasy” too quickly, and large sandpaper can leave quite noticeable scratches on hard wood, which will be difficult to sand out in the future.
In this case, the main grinding work will be done on the underwater part, made of fairly soft wood. Therefore, when choosing a skin, it is better to focus on it. When processing the surface, you must try to ensure that the direction of movement of the skin relative to the body coincides with the direction of the wood fibers. I think it is unnecessary to talk about the caution required when grinding. The risk of sanding through the veneer, especially in the bow, is quite high. If necessary, you can check the thickness of the remaining veneer layer by simply pricking it with the tip of a knife.
When sanding the concave part of the aft end of the bottom, do not try to do it completely with just a wheel. It’s just as easy to ruin the surface here. It is better to do this with sandpaper wrapped around a wooden cylinder.
After the first stage of grinding, the body blank is moistened with water, to which about one-fourth to one-fifth of PVA has been added, and again dried well. At the same time, the wood fibers crushed during the grinding process swell, rise, and, thanks to PVA, harden. The surface becomes hard and rough. And now, using the finest sandpaper, grit 4 - 6, the surface is sanded again. Now it’s final.
All that remains is to process the transom. Using a sharp knife, the veneer overhangs are cut off flush with its plane. In this case, all cutting forces must be directed so that the veneer is pressed against the body to avoid spalling. Just like when cutting strips, you should not try to make the cut in one motion: it is much easier to ruin the work than to repair it later.
After trimming, the plane of the transom, again applying force only in the direction of the hull, is leveled with a fine file.
Well, lining it with veneer, taking into account the experience already gained, I believe, should not be particularly difficult.
It is best to remove the overhangs remaining after cladding in two steps - cut off the main overhang with a knife, and then use small files - flat and semicircular (or sandpaper) to finally process the edges.

Well, that's all at this stage!

Let's hope that this, perhaps the most technically difficult part of the work, turned out the way you imagined it, and this will inspire you to continue it!

Author - Dmitry Kopilov
Exclusive to ModelsWorld
Reprint and publication on other resources
possible with the permission of the site administration
and a mandatory link to the resource.
Contact

The lack of free time is affecting the speed of the ship's assembly, but I have almost completed the rough plating of the Bounty's hull. At this stage, I sealed all the cracks on the stern of the hull with wedge-shaped strips, sheathed the transom with strips and formed the bow of the ship using balsa wood blocks.

Completing the stern skin

The transom covering went without any problems - I fixed it with nails and glued the strips, after the glue dried, I cut the strips along the hull.

Installing rough trim strips on the transom

Once all the planks were in place, I glued the balsa wood pieces to the bow and then proceeded to rough sand the hull.

Ship hull before polishing

I started processing the hull by forming the bow of the ship. I had to tinker with the bow part. Due to the fact that the bow is formed using four pieces of soft balsa wood, I think that everyone who assembles the ship will end up with a unique bow part of the ship.

The blanks of the bars for the bow are installed in place

After installing the bow parts in place, I began processing and shaping the bow of the ship. Although the wood is soft, manual processing would take up to for a long time. As before, I saved Sander. But I also spent several hours with her. First, I ground down the bars to the shape of the keel.

Processing the nose - the bars are ground to the shape of the keel

After that, I rounded the bars along the contours of the body.

One side is machined along the contours of the body

And he aligned the protruding parts of the nose with the contours of the body.

Finishing the nose

After forming the bow, I sanded the entire body and covered it with putty. A slight “anorexia” was observed in the bow between the first and second frames. In this area it was necessary to put more thick layer putty to give a more convex appearance to this part of the body.

Rough grinding of the body

Puttying the body

Puttying the body

Puttying the body

The photos above do not show the final result of the processing. I still have to polish, identify flaws, eliminate them and bring the body to its proper form.

Article how Toolkit for a shipbuilding circle. With a description of the manufacture of a sailboat model.

It is difficult to say how many centuries humanity has been building models. But, apparently, it is logical to assume that ship modeling arose from the beginning of shipbuilding. In historical and maritime museums around the world you can see models found by archaeologists within the borders of the Egyptian pharaohs, during excavations of ancient Greek and Roman cities and settlements.
In Russia, ship models appeared at the end of the 17th and beginning of the 18th centuries. Ship modeling at the first stage of its development is closely connected with the name of Peter I, who ordered the purchase of ship models abroad, built them himself, and subsequently ordered his model to be made for each one under construction. This became a rule that is strictly observed at all shipyards today. Before the construction of the ship, its model is created.
Ship modeling is an interesting and fascinating form of technical creativity. It is practiced by schoolchildren and mature people, workers and engineers, and ship designers.
The word “model” (from the Latin modulus - measure, sample) has several semantic connotations and is used in many areas of science, technology, production, and training. In a broad sense, it is a conventional image (image, diagram, description, etc.) of an object (or system of objects), process or phenomenon.
IN scientific research A model is understood as a mentally represented or materially realized system that, while displaying or reproducing an object of study, is capable of replacing it so that its study gives us new information about this object.
In teaching, models are used as one of the visual aids. They can be objects labor activity(manufactured items) and contribute to fostering interest among schoolchildren in a certain type of technology and developing their technical abilities.
People started building models of various ships a long time ago. However, they often took into account only the geometric relationship between individual parts of the model and the real object, without taking into account the various physical phenomena, “associated, for example, with the use of different materials for their construction.”
We can talk a lot about the benefits of ship modeling. Ship modeling helps an engineer evaluate the correctness of a new technical idea; students can try their hand at design. Design and construction of models introduces naval affairs, shipbuilding, the basics of mathematics and physics, drawing and geometry. Ship modeling contributes to the development of design ideas and fosters the desire to solve technical problems in depth and creatively.
By building a model sailboat, students' scientific and technical knowledge and their technological horizons are deepened. In extracurricular technology classes, this allows students to deepen their knowledge of science and technology.
Direct educational and cognitive work with students in educational institution can be roughly divided into two parts. The first part, which forms the basis of the entire educational process, is a system of lessons on academic subjects. The second part, which is a continuation and addition to students’ academic work, is a system of extracurricular activities. Extracurricular work on technology is designed to develop students’ initiative, creativity, abilities, interests and aptitude for science and technology.

The main tasks of extracurricular work on technology are as follows:
1. Deepening the general scientific knowledge and technological horizons of students. If, for example, a student makes a model of a ship during extracurricular activities, then this activity itself requires knowledge from him internal device vessel. But its design is developed on the basis of knowledge of the seaworthiness of ships, technical mechanics, electrical engineering, electronics and other technical sciences; it uses natural scientific laws, mathematical calculations and graphical apparatus. At the same time, the manufacture of ship model parts and their assembly into a whole product requires knowledge and skills in specific shipbuilding technology. Consequently, in just one example one can see how extracurricular technology classes deepen scientific knowledge schoolchildren, and their technological horizons expand. In extracurricular activities, students can study not only ship models, but also make models of airplanes, cars, master one or another type of work, engage in arts and crafts, folk crafts, etc.
2. Identification of students' creative abilities and talents. In the system of educational work of schoolchildren in the classroom, certain abilities or talents may not always manifest themselves sufficiently noticeably. This is due to the fact that in the classroom the opportunities for students to express the diversity of interests, inclinations and abilities are limited to some extent. Extracurricular activities provide scope for the manifestation and use of “hidden” abilities of students, and they ensure this by creating organizational, technical, didactic and material conditions. These conditions are created both in self-educational institutions and in institutions additional education, children's technical creativity centers, etc.

Consider the example of the construction of the Nina model of Christopher Columbus.
The model was built from valuable wood and is ready for bench ship modeling competitions in the C1 race - bench models sailing ships. The material can serve as a methodological guide for the manufacture of models of this type.

To begin with, the modeler determines the size of the future model and prints the drawings. It is best to do this in CorelDraw or AutoCad. I used the first program. Having decided on the size and scale, the drawings are printed and then glued together according to the marks on the sheet.

The first stage construction, there will be a transfer of frames (Frame (Dutch spanthout, from spant - “rib” and hout - “tree”) - a transverse rib of a ship’s hull; a wooden or metal transverse element of rigidity for the hull of a ship, aircraft or boiler of an eight-axle tank car. In In shipbuilding and shipbuilding, this is also an element of a theoretical drawing - a section of the hull with a vertical transverse plane.) onto plywood.

Second phase. Sawing out frames. When sawing, do not cut along the marking line itself, but leave a little allowance after assembling the frame (the skeleton of the future body); this allowance will allow you to adjust the contours as smoothly as possible.

Third stage The skeleton of the hull will be assembled (it is advisable to assemble it on a slipway). The easiest way to make a slipway can be found on the Internet

The next stage in the production of our model will be the finishing plating, which requires as much care and precision as possible, thanks to which the model will look like a real one and all the defects that will be present on the finishing plating will be visible. And since the model is a bench model, and especially a sailboat, paints are not used here at all, and if they are used, it is on individual elements of the model that require it.

A small note on finishing trim. When finishing the sheathing, the lath is not pierced or nailed; it is pressed with fasteners (into the rough sheathing, this is noticeable in the photo, the nails are stuck into the rough sheathing at the edge of the finishing lath) as you prefer; in this case, I used clothespins and nails with a head.

Transom trim. Since the slats must break through the transom sheathing, according to the rules, they do it in this sequence: transom->side sheathing. Excess slats are trimmed.

The photo shows a temporary velhout that will be glued in after sanding the final lining (velkhout is thicker than the lining itself and can be damaged during sanding, which is why the false velhout is made first)

This is exactly the place on the transom where it is necessary to observe the sequence and correctness of the plating outlined above.

The body is taking shape.

The stage at the end of the covering will be the stage of installing the velhout:
(Barhout (Dutch berghout, from bergen - to guard, hout - tree) - a reinforced row of boards external cladding near the waterline sailing ships or steel profile welded onto outer side belts of steel plating of the ship's hull in the area of ​​the main waterline (GWL) and/or above. The barkhout serves to protect the hull plating of the vessel during mooring, parking at the berth, and boarding, since it protrudes outward from the hull and takes the first blow (pressure) when touching the pier or another vessel, preventing damage to the hull plating.)

Deck manufacturing stage:

The result of painstaking work. Material - pear. Black seams imitated with black paper glued to the ends of the slats.

Lower deck plating. The plating starts from the central section of the hull along the keel. This allows you to maintain symmetry.

After finishing the deck plating, holes are drilled for the masts according to the drawing. The depth of the holes depends on the size of the model (personally, my rule is to drill and check for stability - rolling).

Installation of handrails:

Smart items are made of wood and installed on the model body:

Installation of spar and rigging:
(Rigging (Dutch takelage (from takel - equipment)) - the general name of all the gear on a ship or the armament of a separate mast or spar tree, used to attach the spar and control it and the sails. The rigging is divided into standing and running. Standing rigging is used to hold spar parts in the proper position, running - for setting, cleaning sails, controlling them, changing the direction of individual parts of the spar.)

Finished model:

Thank you for your attention.

MBOU DOD "Center for Children's Technical Creativity" Kansk

FINISHING THE CASE.

Covering the frame of a ship's hull, made up of a keel and frames, with cladding boards became a practice in shipbuilding in the 14th - 16th centuries.
Before this, the construction of a ship began with the formation of a sheathing “shell”, into which transverse reinforcement ribs were then squeezed.

The plating of ancient ships had its own characteristics. First came the first two, thicker rows of sheathing boards embedded in the keel, which were called tongue-and-groove belts. This was followed by a thinner plating of the lower part of the vessel from the sheet piling belt to the waterline—the bottom plating. Above the waterline, the sheathing belts alternated with reinforced belts—velkhouts.

Longitudinal seams between the side edges of cladding boards adjacent to each other are called grooves, and transverse seams are called joints. Temperature and changing forces can cause seams to expand or contract, affecting the watertightness of the hull. Usually the seams are caulked - filled with hemp or other soft material, impregnated with resin, shooting range or other similar substance, and poured on top with resin or a special composition of a mixture of harpius, tallow and sulfur. Thanks to this, the seams “play”, but the waterproofness of the case is not compromised.

On wooden ships, the boards of tongue and groove belts, belts in the waterline area and frames were made only from oak, the remaining belts were made from oak, elm, pine, teak, etc.
The size of the original boards used for cladding ranged from 6 to 8 meters and were laid with a certain layout.
Until the end of the 17th century, the width of the boards was chosen between 33 and 45 cm (older - wider), in the 18th century - 28 - 35 cm, and in the 19th century - an average of 30 cm.
The thickness of the boards ranged from 7.5 - 10 cm on the bottom, to 13 - 15 cm in the velvet layers.
The extreme ends of the belts went into the tongues of the fore- and stern-posts and were fastened with dowels made of galvanized iron or copper. Iron pins were driven into the skin, as well as into frames, without first drilling holes in the wood, while copper pins were driven into drilled holes, With inside they were flattened on lining washers.
The usual diameter of the dowels was 4-5 cm. Metal nails had a head measuring 1.6 cm. The bolts used to fasten the sheathing usually had a head with a diameter of 6 cm and a height of 0.6 of its diameter. The washers used with the bolts had a diameter equal to 1.25 of the head diameter.
To fasten thin skins, conical tenons made of oak or acacia were usually used.

On this moment In modeling, a very practical and simple cladding method was introduced - double cladding. On the one hand, this method requires doing the sheathing twice, but on the other hand, it helps to do the sheathing elegantly and neatly.
The first stage of this process consists of applying a layer of relatively thick (about 2 mm thick) strips, 4-8 mm wide, to the entire prepared frame of the model body.
After applying the strips to the entire body and pre-sanding them, wood filler or putty is applied, followed by sanding again. This process is repeated until all irregularities disappear: scratches and dips in the joints between the planks, depressions and protrusions on them.
At the second stage, finishing trim strips are glued onto the body, which are prepared in advance in accordance with the scale dimensions, a material is selected that matches the texture of the scaled real one, etc.
Thanks to carefully calibrated and prepared primary “rough” cladding. The “finish” skin after gluing only needs a final fine sanding.
After installation of the sheathing is completed, grooves and joints are marked on it, as well as nailing, which gives it a finished and realistic look.

On the 1:115 scale model of a two-masted schooner, the role of the primary “rough plating” is played by a hull blank, originally cut from a wooden block.
We glue the “finish” skin from a strip, which we cut from veneer from a “fruit” basket. We cut the rail into a width calculated in accordance with the scale of the model. You can cut a strip of relatively thin veneer with a modeling knife, using a ruler.
To speed up the process of slicing, you can use a homemade multi-blade knife.

How to make such a knife is shown in detail in the video. "Knife for Strips (Modeling Tools)"

The process of gluing cladding slats of the same width itself is not much different from gluing deck slats. However, there are several nuances that you should pay attention to.

First of all, we need to adjust the thickness (protrusion above the surface) of the velvet, which we have already glued to the body and which will give us the direction for gluing the cladding strips.
It has already been said that velkhout is also a sheathing board, but thicker (1.5 - 2 inches). Therefore, when placing a sheathing strip next to the velkhout, we mark the height of the strip on the latter, mark along the entire length of the velhout a height exceeding the marks to the thickness of the sheathing strip and remove the excess with sandpaper. Finally sand the velhout.

We glue the sheathing strip from the velhout down (to the keel) and up (to the bulwark). We press the first strip closely to the velhout, each subsequent one to the previously glued one. The slats should be glued either first on one side completely, and then on the second, or by sequentially gluing one slat on each side. This allows you to maintain the symmetry of the location of the sheathing slats on the sides.

We glue the rail with cyano-acrylate adhesive gel. This is a departure from traditional technology- “welding with an iron on PVA glue”, but it avoids the need to pre-bend the slats for curved areas of the body surface and significantly speeds up the process.

When working with cyano-acrylate gel, you should not forget about the working rules:
- apply glue not to the entire workpiece at once, but in parts, as it is glued;
- after applying the glue, hold the workpiece for 20 seconds, and then press firmly to the surface to be glued;
- do not apply a lot of glue so that after gluing it does not squeeze out from under the parts being glued;
- remove excess glue without waiting for it to set.

The specificity of the surface of the ship's hull is that its underwater part (especially closer to the bow) is spherical. The sheathing strip in this place has to be bent in two perpendicular directions - along and across the fibers.
If on a large-scale model, using relatively narrow slats, it is quite easy to go through a bend, then on a small-scale model, difficulties may arise. In particular, “pockets” may form - part of the lath does not adhere to the surface and does not stick due to internal stresses wood Using CC glue allows you to quite easily solve the problem of “pockets”.

We cut the strip in the “pocket” area, insert glue under it and glue the resulting valves. To avoid unnecessary overlap of the valves with each other, we trim their edges as they are glued.

When the glue sets and the former “pocket” is sanded, the valve joints will be invisible. If the gap between the valves is wide, you can glue a piece of the same sheathing strip into it.

Having not brought the skin of the underwater part of the hull 3-4 rows up to the keel, we begin to glue the slats from the keel upwards - this will ensure that the tongue and groove belt of the slats is parallel to the keel. We fill the resulting spindle-shaped area of ​​the surface with a batten so that the ends of the battens of the same width approach the stems. At the same time, if necessary, we narrow the slats (forming the so-called “losses”) or glue wedge-shaped elements in places where the seams widen between the covering strips.

The ends of the slats should fit closely to the stem. on the sternpost, it is permissible for the glued slats to “fly” over the edge of the stem (the excess will be carefully trimmed off when installing the sternpost). Cladding the freeboard part, as a rule, does not present any particular difficulties. The contours of the surface of the nasal tip on it are close to cylindrical, and covering them with veneer, given the rather large radius, is quite simple. Before starting, mark the vertical center line of the body surface with a pencil. This will allow you to maintain the symmetry of the skin. After this, you can proceed directly to the veneering operation itself.
Regardless of the size of the model being built, I can say from my own experience that it is most convenient to apply glue on both sides at once in symmetrical strips, 3 to 4 centimeters wide, i.e., approximately sufficient for gluing six to seven strips of sheathing in one go.
In places where the converging ends of the strips form curvilinear contours of the nasal extremity, after applying the glue when it has dried and has ceased to stick to a clean surface, immediately before gluing, they must be bent using a cork from the “Moment”, using the method described earlier in the chapter "Selection of veneer" when checking its elasticity. The very tips of the strips: about five millimeters - you can even break them a little more, for a better fit to the surface, to avoid their further peeling.
When applying glue, it is very important to carefully ensure that there are no uncoated areas of the surfaces, both on the body and the veneer. If they turn out to be so, even if at this stage the incomplete gluing turns out to be unnoticeable, then later, during sanding, and especially during finishing, the unadhered places and sections of veneer will almost certainly come off, forming bubbles, “siskins”, as the carpenters say, and then correct they will be quite difficult. No less important is the thorough grinding of the entire veneer surface during veneering.