accessories 

Ship model hull plating. Sailing modeling

This simple web page is used to visualize your joystick buttons and axes.
Yep, there are only a few widgets, but the layout may still be complex enough.


There is a direct link to the preset shown above:


As it utilizes javascript Gamepad API, it can support up to 4 devices.
It "s highly recommended to use Chrome-based web browser since Firefox doesn't see all possible axes.

important notice. The Joystick Visualizer does not store your personal data, nor uses cookies. All presets you "d made are stored at your web-browser local storage.

The visualizer was (in primary) created for using while playing Elite: Dangerous. Of course, it may also be used in other various simulator games. my friend CMDR requested visualizator that is as much flexible as possible to freely support his 2 joysticks with throttle and pedals setup.

This visualizer is good at use as a "Browser" source in OBS application.
I asked CMDR to give me a sight on his experience of using the visualizer with OBS. Here is his comprehensive answer:

Using Joystick Visualizer in OBS.

Step 1. Configure widgets.
- go to a.site/joystick/
- double click anywhere to add widget. You may use buttons, hats, labels and single or double axis widgets.
- configure widgets. Double click on widget, set label(s) and joystick(s) and axis number(s). These numbers you can find using the "Joysticks" menu.
- configure general settings like shadows, colors etc.
- save your settings.




Step 2.OBS.
Well, you will need to experiment a bit with settings to achieve decent results.

Disclaimer: These are mine personal recommendations. They work for me, your mileage may vary.

At first, choose a proper color for your chroma key background. The usual acid green is not always the best option. We'll need a bit of theory here.

The ChromaKey technology works as a dynamic mask determined by the color. This color is filtered out by software during the video processing and all areas of that color are considered transparent.
This works very well with sharp-edged objects, where we have a distinct border between the colors. But if you have any kind of antialiasing, shadows or edge feathering involved, things are more complicated because of the process called "color spill" which is basically a blending of the colors at the edges of an object. To minimize this effect you need to choose the chroma key color which is:
a) opposite to the color of the object
b) not very bright
Some numbers to illustrate this:
Every color is composed from 3 basic color channels - Red, Green and Blue. In 24 bit palette color each color value can be from 0 to 255 (or from 00h to FFh in hexadecimal notation)


#ff7100 - this is the code for orange color of Elite Dangerous. As you can see, it consists of 255 (FFh) Red, 113 (71h) Green and 0 (00h) Blue. Since this orange color does not contain Blue channel at all, a kind of blue chroma key color will be easiest to remove and is the best choice for orange widgets. Also, it should be not too bright, because the dull colors "spill" less. The shade of blue with code #000080 shoud work just fine.


Chroma key color should be set in "Settings" menu of Teall Joystick site. Save your configuration and then use "Export" in the "Save" dialog. You will see the "Direct link" option, copy that link.


Now we need to add this to OBS.

In OBS add new "Browser" source.
Insert the link that you have copied from the website to the "URL" field and set the desired browser window size. I recommend to start with the size of your video frame and than reduce it to the minimal required dimensions later. When you click OK, you should see your widgets in the OBS along with chroma key background. Now we need to remove it.


Right click on browser you have just created and choose "Filters". Click on "+" an add "Chroma Key" fiter.
Set "Key Color Type" to "Custom" and choose chroma key color either by using palette\number fields or color picker.


Now is the time for fine tuning.
Set "Similarity", "Smoothness"and "Key Color Spill Reduction" to minimum.
"Similarity" is how close to the base color you want OBS to remove. Adjusting this slider will allow OBS to remove wider chroma key color variations of the screen. Make sure not to increase this so much that some parts of your widget is being removed too.
Adjust "Similarity" so you can see the widgets clearly with minimal residue of chroma key color. It should be small value in our case since we have very uniform key color.
"Smoothness" works in tandem with "Similarity" in trying to make sure that the filter isn't too harsh. You shouldn't have to move this to a large degree. Use it to hone in on the perfect amount of what's left on the screen.
"Spill Reduction" applies to the edges of what the filter is and isn't removing from the screen. If you"re noticing some key color residue on the edges of your widgets, move this slider to remove it.
Most probably, you will need to disable shadows in the website settings to get better results. This largely depends on the color schemes used though.


Step 3. Final adjustments.
As the last steps, adjust widgets placing (you will need to save new settings and apply new URL to the OBS browser) and OBS browser overlay size. After the overlay size has been roughly set, you may crop the overlay instead of resize by holding "Alt" key while adjusting overlay borders.
Please note that chromakey processing is a tough computational task, so you will need a computer with a decent CPU to avoid lags and framedrops.


As always, Joystick Visualizer is completely free for use and copy. If you like it feel free to donate =)

FINE COVERING OF THE HULL.

Sheathing the frame of the ship's hull, recruited from the keel and frames, with a sheathing board, entered the practice of shipbuilding in the 14th - 16th centuries.
Prior to this, the construction of the ship began with the formation of a sheathing "shell", into which transverse reinforcing ribs were then squeezed.

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

The longitudinal seams between the side edges of the sheathing boards adjacent to each other are called grooves, and the transverse seams are called joints. Under the influence of temperature and changing forces, the seams can expand or contract, which affects the water resistance of the case. Usually the seams are caulked - they are 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, lard and sulfur. Thanks to this, the seams “play”, but the water resistance of the case is not violated.


On wooden ships, boards of sheet pile belts, belts in the waterline area and frames were made only from oak, the rest of the belts were made from oak, elm, pine, teak, etc.
The size of the original boards used for sheathing varied between 6 - 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 at the bottom to 13-15 cm in the velvet layers.
The extreme ends of the chords entered the tongues of the fores and sterns and were fastened with dowels made of galvanized iron or copper. Iron dowels were hammered into the skin, as well as into frames, without pre-drilling holes in the tree, while copper dowels - in pre- drilled holes, from the inside they were flattened on lining washers.
The usual diameter of the dowels was 4-5 cm. The metal nails had a head 1.6 cm in size. The bolts used for fastening the sheathing usually had a head 6 cm in diameter and a height of 0.6 of its diameter. The washers used with the bolts had a diameter equal to 1.25 head diameters.
To fasten the skin of a small thickness, conical spikes made of oak or acacia were usually used.

At the moment, a very practical and simple plating method has taken root in modeling - double plating. On the one hand, this method requires plating twice, but on the other hand, it is he who helps to complete the plating elegantly and accurately.
The first stage of this process consists in applying a layer of relatively thick (about 2 mm thick) planks, 4-8 mm wide, to the entire prepared frame of the hull model.
After applying the planks to the entire body and pre-sanding them, a wood filler or putty is applied, followed by re-sanding. This process is repeated until all irregularities disappear: scratches and gaps in the joints between the planks, recesses and protrusions on them.
At the second stage, finishing planks are glued onto the hull, which are prepared in advance in accordance with scale dimensions, material is selected that matches the texture of the scaled real one, etc.
Thanks to the carefully calibrated and prepared primary "rough" skin. "Finish" skin after the sticker needs only fine finishing polishing.
After the installation of the skin is completed, the grooves and joints are marked on it, as well as nailing, which gives it a finished and realistic look.

On a model of a two-masted schooner in a scale of 1:115, the role of the primary "rough plating" is performed by a hull blank, originally cut from a wooden block.
We glue the "clean" sheathing from a rail, which we cut from veneer from a "fruit" basket. We cut the rail with a width calculated in accordance with the scale of the model. you can cut a rail of relatively thin veneer with a model knife, under the ruler.
To speed up the process of cutting the rail, 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)"

By itself, the process of sticking cladding battens of the same width is not much different from sticking deck battens. However, there are a few nuances that you should pay attention to.

First of all, it is necessary to adjust the thickness (protrusion above the surface) of the velvet, which we have already pasted on the body and which will give us the direction of sticking the cladding rails.
It has already been said that the velvet is also a sheathing board, but thicker (by 1.5 - 2 inches). Therefore, applying the sheathing rail next to the velvet, we mark the height of the lath on the latter, we mark the height along the entire length of the velvet exceeding the marks to the thickness of the sheathing rail and remove the excess with sandpaper. We finally grind the velvet.


We glue the sheathing rail from the velvet down (to the keel) and up (to the bulwark). We press the first rail close to the velvet, 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 arrangement of the cladding rails on the sides.


We glue the rail on cyano-acrylate glue-gel. This is a deviation from the traditional technology - "welding with an iron on PVA glue", but it allows you to avoid the need for preliminary bending of the rails for curved sections of the surface of the case and significantly speeds up the process.

When working with cyanoacrylate gel, do not forget about the rules of work:
- 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 it firmly against the surface to be glued;
- apply not much glue, so that after gluing it does not squeeze out from under the parts to be 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 rail 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 rails, it is quite easy to pass a bend, then on a small scale model it can be difficult. In particular, "pockets" can form - part of the lath does not adhere to the surface and does not stick due to the internal stresses of the wood. The use of CC glue makes it quite easy to solve the "pockets" problem.


We cut the rail in the area of ​​\u200b\u200bthe "pocket", we introduce glue under it and glue the resulting valves. To avoid unnecessary overlapping of the valves on each other, we cut their edges as they are glued.

When the glue sets and the former "pocket" is polished, the valve joints will be invisible. If the gap between the valves turned out to be wide, a piece of the same sheathing rail can be glued into it.


Without bringing the skin of the underwater part of the hull 3-4 rows to the keel, we begin to glue the slats from the keel upwards - this will ensure that the sheet pile belt of the slats is parallel to the keel. We fill the resulting spindle-shaped surface area with a rail so that the ends of the rails of the same width fit the stems. At the same time, if necessary, we narrow the rails (forming the so-called "losses") or glue the wedge-shaped elements in the places of expansion of the seams between the sheathing rails.




The ends of the rails should come close to the stem. on the sternpost, let's say the glued rails "go out" over the edge of the post (the excess will be carefully cut off when installing the starpost).

The lack of free time affects the speed of assembling the ship, but I have almost completed the rough plating of the Bounty's hull. At this stage, I filled all the gaps in the stern of the hull with wedge-shaped planks, planked the transom and formed the bow of the ship with cork blocks.

Completion of the stern plating

The sheathing of the transom went without problems - I fixed it with nails and glued the planks, after the glue dried, I cut the planks along the hull.

Installing rough sheathing strips on the transom

After installing all the planks in place, I glued the cork wood in the bow and then started rough sanding the hull.

Ship hull before sanding

I started processing the hull by forming the bow of the ship. I had to tinker with the nose. Due to the fact that the bow is formed using four pieces of soft cork wood, I think that everyone who assembles the ship will get the bow of the ship with its own characteristics.

The blanks of the bars for the bow are installed in their places

After installing the bow parts in their places, I started processing and shaping the bow of the ship. Although the wood is soft, but manually processing would stretch for long time. As before, the grinder saved. But I spent a few hours with her. First, I grinded the bars in the shape of a keel.

Bow processing - the bars are ground to the shape of the keel

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

One side is processed along the contours of the body

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

Nose finishing

After forming the bow, I sanded the entire hull and covered it with putty. In the bow between the first and second frames, there was a slight "anorexia". In this area, a thicker layer of putty had to be applied to give a more convex appearance to this part of the hull.

Rough polishing of the case

Hull puttying

Hull puttying

Hull puttying

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

Article as a methodological guide for the ship modeling circle. With a description of the manufacture of a sailboat model.

It is difficult to say how many centuries mankind has been building models. But, apparently, it is logical to assume that ship modeling arose from the beginning of shipbuilding. In the historical and maritime museums of the world, you can see models found by archaeologists within the boundaries 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 associated with the name of Peter I, who ordered to buy ship models abroad, built them himself, and subsequently ordered to make his model 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. Schoolchildren and people of mature age, workers and engineers, ship designers are engaged in it.
The word "model" (from Latin modulus - measure, sample) has several connotations and is used in many areas of science, technology, production, and education. In a broad sense, this is a conditional image (image, diagram, description, etc.) of an object (or system of objects), process or phenomenon.
In scientific research, a model is understood as such a mentally represented or materially realized system that, displaying or reproducing the object of study, is able to replace it so that its study gives us new information about this object.
In training, models are used as one of the visual aids. They can be objects of labor activity (objects of manufacture) and contribute to the development of interest among schoolchildren in a certain type of technology and the development of their technical abilities.
People began to build models of various ships a long time ago. However, at the same time, they often took into account only the geometric relationship of individual parts of the model and the real object, not taking into account various physical phenomena, "associated, for example, with the use of unequal materials for their construction."
You can talk a lot about the benefits of ship modeling. Ship modeling helps the engineer evaluate the correctness of a new technical idea, students can try their hand at designing. Designing and building models introduces naval science, shipbuilding, the basics of mathematics and physics, drafting and geometry. Sudomodelizm contributes to the development of design ideas, brings up the desire to solve technical problems in depth, creatively.
When building a sailboat model, students deepen their scientific and technical knowledge and their technological horizons. In extracurricular technology classes, this allows students to deepen their knowledge in science and technology.
Directly educational and cognitive work with students in a general education institution can be conditionally divided into two parts. The first part, which forms the basis of the entire educational process, is the system of lessons in academic subjects. The second part, which is a continuation and addition to the educational work of students, is a system of extracurricular activities. Extracurricular work on technology is designed to develop amateur performance, creativity, abilities, interests and inclination of students to science and technology.

The main tasks of extracurricular work on technology are as follows:
1. Deepening general scientific knowledge and technological outlook of students. If, for example, a student makes a model of a ship in extracurricular activities, then this activity itself requires knowledge internal device ship. But its design was developed on the basis of knowledge of the seaworthiness of ships, technical mechanics, electrical engineering, electronics and other technical sciences; it uses natural science laws, mathematical calculations and graphic apparatus. At the same time, the manufacture of ship model parts and their assembly into a whole product requires knowledge and skills in a specific shipbuilding technology. Therefore, using only one example, one can see how the scientific knowledge of schoolchildren deepens and their technological outlook expands in extracurricular classes on technology. In extracurricular activities, students can engage not only in models of ships, but also make models of aircraft, cars, master one or another type of labor, engage in arts and crafts, folk crafts, etc.
2. Revealing the creative abilities and talents of students. In the system of educational work of schoolchildren in the classroom, certain abilities or talents may not always be sufficiently noticeable. This is due to the fact that in the classroom, to some extent, the possibilities for manifesting the diversity of interests, inclinations and abilities of students are limited. Extra-curricular activities provide scope for the manifestation and use of "hidden" abilities of students, and they provide this by creating organizational, technical, didactic and material conditions. These conditions are created both in a self-educational institution and in institutions of additional education, centers of children's technical creativity, etc.

Consider the example of Christopher Columbus building the Nina model.
The model was built from precious woods and is ready for the competition of bench ship modeling in C1 - 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. This is best done in CorelDraw or AutoCad. I used the first program. Having decided on the size and scale, the drawings are printed, then glued together according to the marks on the sheet.

First step the construction will be the transfer of frames (Frame (Dutch. spanthout, from spant - "rib" and hout - "tree") - the transverse rib of the ship's hull; a wooden or metal transverse stiffener of the ship's hull, aircraft or boiler of an eight-axle tank car. shipbuilding and shipbuilding, it is also an element of a theoretical drawing - a section of the hull with a vertical transverse plane.) on 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 there will be an assembly of the hull skeleton (preferably assembled on a slipway). The easiest way to make a slipway can be found on the Internet

The next stage in the manufacture of our model will be the finishing skin, which requires the greatest possible accuracy and accuracy. Thanks to it, the model will look like a real one and all the shortcomings that will be present on the finishing skin will be visible. And since the model is a bench model, and even more so a sailboat, paints are not used here at all, and if they are used, then on individual elements of the model that require it.


A small note on the finish. When finishing the plating, the rail is not pierced and not nailed, it is pressed with fasteners (into the rough plating, it is noticeable in the photo, the carnations are stuck into the rough plating at the edge of the finishing battens) as it is more convenient for you, in this case, I used stationery clothespins and carnations with a hat.


Transom lining. Since the rails must break through the transom sheathing, according to the rules, they do it in this sequence, transom->board sheathing. Excess rails are trimmed.

The photo shows a temporary velvet that will be glued after grinding the final plating (the velvet is thicker than the plating itself and can be damaged during grinding, which is why they make a false velvet first)

It is the place of the transom where it is necessary to observe the sequence and correctness of the skin outlined above.


The body is taking shape.

The stage at the end of the skin will be the stage of installing the velvet:
(Barhout (Dutch. berghout, from bergen - to protect, hout - tree) - a reinforced row of outer plating boards in the waterline area on sailing ships or a steel profile welded onto the outer side of the steel hull plating belt in the area of ​​\u200b\u200bthe main waterline (GVL) and / or above Velvet serves to protect the ship's hull plating during mooring, berthing, boarding, as it protrudes out from the hull and taking the first blow (pressure) when touching the berth or another vessel does not make it possible to damage the ship's hull plating.)

Deck manufacturing stage:

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

Lower deck cladding. The skin starts from the central section of the hull along the keel. That allows you to maintain symmetry.

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

Handrail installation:

Particular things are made of wood and installed on the body of the model:


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


Finished model:




Thank you for your attention.

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

Slowly but surely, the hull of the Victoria is moving. The turn came to sheathe the bottom of the ship with "American walnut" planks. By the end of November, sheathed a small part of the hull. The slats have not yet been polished - in the photo it seems that they are "walking". After processing, everything will be smooth.

Sheathing at the stern

Bow plating

As you know, the magazine suggests making a single skin. After reading various forums, it turned out that the magazine version described not quite the right option for laying the skin slats. After studying the issue, it turned out that the British in wooden shipbuilding had the planks stacked as follows:

English version of the cladding

Various end plate options

Even on Western forums I found the following instructions for laying planks:

Various options for end and insert strips

At the same time, I also found instructions for laying the slats:

Plank laying instructions

As a result, step by step, the following instruction turned out:

Step 1: Measure 2.5mm from the last plank at the nose, (this is the minimum distance required for the plank, since the whole plank is 5mm wide and the narrow part of the plank cannot be narrower than half of the whole part) Mark with a pencil.

Step 1: Mark 2.5mm

Step 2: Press the top of the stacked planks against the body, making sure that the plank fits snugly against it. At the other end of the bar, use a 5mm wide spacer bar. If the mark from step 1 becomes visible, move the bar higher. Mark on the body and on the bar the areas where the bar begins to overlap the previous bar and where it stops touching it. The plank should be cut along the line along which it comes into contact with the previous laid plank.

Step 2, Step 1: Finding the place of contact with the previously laid plank

Step 2, Step 2: Mark the intersection on the body and bar

Step 3: Now you need to mark 2.5mm on the body and on the lower laying lath at the intersection of the upper laying lath with the previously laid lath on the body. From this point, a wedge of the required size should be marked. Wedge size may need to be adjusted to fit.

Step 3, Step 1: mark 2.5 mm at the found intersection

Step 3, Step 2: repeat the previous steps, but for the bottom lath to be laid - find the intersection with the previously laid lath on the body

Step 4: Cut and glue the bottom bar.

Step 4: From the found point of intersection with the previously laid plank to the middle of the plank at the point from step 2, cut the plank to be laid obliquely and glue it in place

Step 5: Repeat the previous steps for the top bar. Those. mark 2.5mm at the end of the plank (the end of the plank should be at the mark from step 2) and cut, mark the wedge from the intersection with the laid plank from step 4, cut, fit in place, glue.

Step 5, Stage 1: mark the intersection with the previous plank

Step 5, Step 2: cut the plank obliquely from the found point of intersection to the middle of the plank at the point found in step 2 and glue the plank in place

Step 6: Cut a wedge at the end strip from the length obtained after cutting the top laying strip in step 2. Test the end strip for convergence and cut/fit in place. Glue in place.

Step 6, Step 1: Making the end plate

Step 6, Step 2: End plate in place

In a similar way, I laid the slats in the stern. Following this instruction, I almost completed the final trim.

By the sixth of January, the finishing sheathing is almost ready - it remains to lay a few rows