Chapter 7

Mounting A Model

Your final job in the construction of a model will be to provide it with some form of decorative mounting.

Of course, you can use the temporary support that served to hold the model during the rigging and decorating processes; but since it is not likely to be much more than two rough cradlelike supports mounted on a plain stick or board, it may not be in keeping with the trimness and beauty of the model. The support can be improved, however, by substituting two ornamental cradles, carved to represent whales or sea horses, as shown in Fig. 1.


 
Another type of mounting that is a favorite with many model makers because it leaves the hull entirely clear is shown in Fig. 2. It consists simply of two turned posts with slots in them to take the keel of the model. The posts can be separate or screwed to a base board. Their diameter at the widest point should not be more than half the beam of the model, nor their height more than half the depth of the hull.

If you have no lathe, the posts can be improvised from suitable turnings that may be found in almost any home n inexpensive candlestick or part of a urning taken from a discarded chair. In fact, the ingenious craftsman will be able to file them to shape.

A mounting that is similar, except that four posts instead of two are used, is shown in Fig. 3. It consists of four cast bronze door bumpers (the type having rubber tipped ends), four metal domes or slides, and a piece of stock large enough to accommodate the model. The bumpers can be obtained in a variety of lengths; the 21/2-in. length, however, will be the best for the average model.

In the case of the clipper ship described in Chapter X, the base can be 10 in. wide and 2 ft. 6 in. long, and the door-bumper supports can be placed 41/2 in. apart along the width and 1 ft. 6 in. apart along the length. The steel domes can be placed near the corners on the underside to serve as feet. By varying these dimensions, however, this type of mounting can be made for any size model.

Another not uncommon type of mounting represents the shoring and blocks used to support a hull on the launching ways of a drydock (see Fig. 4). From ten to twenty supports generally are used and they should not be higher than one-quarter the height of the hull. The top section of at least three of them should be fastened to the hull with screws and then screwed down firmly to hold the model upright. For a model of a clipper ship (Chapter X), the blocking should be uniform throughout the length, but for hulls that are deeper aft than forward, the blocks should be arranged as shown so that the water line will be level. Wood shores placed on either side and running from near the edge of the base to the bilge will complete the illusion. If a minimum of base is desired, the large flat baseboard may be omitted and a long center bar used instead. However, in this case, it should have crossbars half-lapped into it at the points where the shores are placed.

27”

If you desire the effect of a water-line model yet still want to retain the complete hull, you can resort to the novel type of mounting shown in Figs. 5 and 6. The hull is sunk in a hollow base, either upright if the 27”yards are square or leaning over a trifle if the yards and sails are braced. The top of the mounting can be wood, smooth glass, rippled glass, or plastic wood composition modeled to imitate waves. The last type mentioned is particularly suited to schooner models as shown in Fig. 6. A hole is cut in a piece of plywood to match the water-line contour of the model, a plastic wood composition is molded into wave shapes, and artist's oil colors are applied to furnish the color. Small wisps of cotton glued around the hole at the bow of the ship will give the effect of spray.
If rippled glass is used, have a hole cut in it to take the model. For support, cement the glass to a thin hardwood or three-ply board, similarly cut out.

Many model makers prefer to house their favorites in museum like cases of glass. This is particularly so in the case of a small model having delicate parts and rigging. A novel triangular shaped case that is easily made is shown in Fig. 7. Such a case can be constructed in a few hours at a cost of less than a dollar. The bottom and ends of the case are made of wood. The dimensions, of course, will depend on the size of the model. The panels of glass may be mounted by either of two methods. If power tools are available, grooves can be cut in the ends and bottom to receive the edges of the glass as shown at A. When the work must be done by hand, the glass may be held by half round or other suitable molding. For the ends, cut the molding in half lengthwise; but for holding the glass at the base, cut it on a slant as shown at B.
For mounting the model inside the case, the pedestal type of support shown in Figs. 2 or 3 can be used.

To make a tight, dust-proof joint at the upper edge, fill any crack that may result with wax or plastic wood composition. Also, to improve the looks of the case, add four square feet cut from wood. A coat or two of varnish or varnish stain will finish the job.

If your model is to be displayed in a large room where space is plentiful, you can mount it in a novel scenic case similar to the one shown in Fig. 8. It consists of a glass-fronted rectangular cabinet fitted with a decorative scenic background to set off the outline of the model. The hull is set in an imitation sea in the manner of the mounting shown in Fig. 6.

The first thing to do is to make the case. Any well seasoned piece of wood, either hard or soft, will serve. If a substantial piece, say 7/8 in. thick, is used for the bottom, the remainder of the case may be made of thin stock. A piece of fiber wall board will do for the back. The water, either rippled glass or plastic wood composition on plywood, should be mounted in the case so that it slopes forward slightly. Also, it should be arranged so that its front edge is just below the molding at the front of the case. The depth of the case, up to the glass, will depend, of course, on the depth of the hull being mounted. Incidentally, the center line of the model should come 1 or 2 in. nearer the front than the back and about the same distance forward of the middle.

Next comes the scene that is to form the background for the model. This is best painted on a prepared canvas with artist's oil colors. When the paint is dry, glue the canvas to a sheet of cardboard and then set it in the case so as to stretch across the back and down to the front on both sides. It should form a flattened cyclorama. A few small tacks or brads placed along the edges will hold the canvas firmly in place. If desired, the inner corners at the rear of the case can be supplied with half-round blocks of wood to support the canvas.
Of course, if water colors are preferred, the same scene can be painted on Bristol board or ordinary white drawing paper.

As for the scene to serve as a background, it can be anything that will form a pleasant setting merely the clouded horizon with a few gulls spotting the sky, or the more interesting and colorful trees and hills of a distant coast line.

As already suggested, the background should extend in a curve behind the model. If the background is to represent a coast line, a few waves and spray should be modeled along the line where the painting joins the rippled glass or plastic wood composition sea.

The front of the case will need a glass. For this, picture frame or similar molding is required. As shown in the drawing of Fig. 8, the inner rabbet is for the glass and the outer to set into the front edges of the case. Cut the molding so that when the corners are mitered together, the outside edges of the resulting frame will coincide with the outside edges of the case.

Fix in the glass, set the frame in the case, and keep it in position with side hooks. Finally, varnish, paint, or lacquer the outside.

If you cannot obtain the green rippled glass for mounting the model and do not wish to go to the trouble of modeling waves from plastic wood composition, use ordinary window glass mounted over a similarly shaped piece of plywood. The wave effect can be obtained by painting the upper surface of the plywood.

When a ship model without sails is mounted in this manner, it will be best to use the coast-line background and set the ship perfectly upright. An anchor chain leading at an angle to the imitation sea will complete the illusion of a ship riding at anchor. If your model has sails, use the horizon background, tip the model to give the appearance of "heeling over,”brace the yards, and put plenty of cotton spray under the bow.

When placing a model in any type of cabinet, it is best to take some precaution to prevent the wood and rigging from drying out too rapidly. Many model makers place a small dish of salt in the case, concealing it above or below the line of sight. A dish of water will have the same effect.

No matter how you mount your model, you will want to provide some sort of nameplate giving the name of the original ship, the date the model was completed, and any other data that may be interesting to those who will admire your handiwork.

Simplest of all nameplates, of course, is a printed sheet placed under celluloid or glass in a metal frame. This type of nameplate often is used when models are displayed in museums. A better type, which is more workmanlike and more befitting a carefully built model, however, is an etched or engraved metal plate. Although engraving takes ability and experience, etching is within easy reach of every model maker.

An etched copper nameplate is particularly easy to make. The materials needed are a few strips of 16-or 18-gage soft sheet copper, 2 or 3 oz. of commercial nitric acid, a small can of asphaltum varnish, a camel's hair brush, and a sharp scratch awl.

First, carefully print the material and information you want your nameplate to contain on a sheet of paper. Make it the actual size you desire. Then completely coat the upper surface of a sheet of copper cut to the right size with the asphaltum varnish. Allow this to dry for about ten hours. Lay the lettered sheet over the asphaltum and with a hard pencil, well sharpened, go over the lines. This will form impressions of the letters on the asphaltum. Finally, remove the paper and go over the lines with the scratch awl, scratching off the varnish wherever a line is desired. Be sure to scratch down to the surface of the copper. The etching is best done out of doors because of the fumes that are given off. Lay the metal plate face up and make sure that it is perfectly level. Pour enough of the nitric acid over the piece to cover it completely and evenly. Allow it to remain this way until the acid stops bubbling, indicating that it has stopped working.
Then plunge the plate into cold water. If the lines have not been etched deep enough, repeat the process.

The acid will eat into the copper wherever you have scratched through the asphaltum. When the etching is completed, the varnish can be removed easily with kerosene; after which it should be washed thoroughly with soap and water.

If you have a typewriter or can obtain one, you can typewrite your nameplate and then etch a reproduction of it on a metal plate by using the ingenious process outlined in Fig. 9. It is an inexpensive and foolproof method, and the resulting letters will be clear-cut and durable.

From a large commercial stationery store, obtain a dry stencil sheet intended for making regular stencils for a mimeograph machine. The typing is done in the usual way. If you have any doubt as to the process, read the instructions on the reverse side of the stencil.

As in all stencil making, be sure that the typewriter ribbon is disengaged; the type pieces must strike the surface of the stencil. Also, make sure that the type is clean so that it will make sharp impressions. On a clean-cut stencil depends the final appearance of your nameplate. Finally, cut off the portion of the sheet containing the printing, leaving a margin all around.

Next, cut a piece of sheet copper ¼ in. smaller than the stencil. Place this on top of a sheet of dry cardboard and on top of it put a sheet of clean, unprinted blotting paper. Then mix a solution of copper sulphate, made by carefully adding copper sulphate to water until no more will be dissolved. With an eye or medicine dropper, saturate the blotting paper with this solution. Over this lay the stencil so that the typewriting is reversed or reads backwards.

Now, carefully clean a rectangle of steel so that the surface to be etched is free from grease. Center it over the lettering on the stencil and press it into contact with your hands or a weight.

To complete the etching, you will need a battery. This can be a 6-volt automobile or radio storage battery. Connect wires from the battery to the steel plate and to the copper sheet by slipping the wire from the negative terminal under the copper and touching the positive wire to the back of the steel nameplate.

Hold the wires in contact for from two to five min- utes, depending on the amount of lettering on the stencil. Then disconnect the wires, remove the plate, and wash it clean.

If the contact between the steel and the stencil has been perfect, the metal will be etched in exact reproduction of the typewritten matter on the stencil. Furthermore, the "engraving”will be of such a depth that it will not wear off.
The entire success of your "engraved”nameplate will depend on the care you exercise in preparing the stencil. Be sure that none of the delicate lines are broken or cut out completely.

What you will want on your nameplate is largely a matter of personal preference. The following, however, may offer a few suggestions:

"Name of Original Ship"
Date Launched:
Deck Length:                                        Tonnage:
Scale of Model:
Model By:
Date:

If your model is to be displayed in the open, the problem of dusting it will present itself. To look ship shape and trim, a model cannot be covered with a gray coating of dust. For this process you had best use a syringe bulb, or, if convenient, the air hose at your neighborhood garage. Blasts of air will remove dust that cannot be reached with a cloth. A soft camel's hair brush will help to loosen the accumulation in the corners.

Once you have completed your model and are satisfied with its appearance, keep it that way. If lines loosen up with time, tighten them. If the finish becomes marred, retouch it. And if by some unavoidable error, a spar warps badly, replace it.

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