The scale is the same as previous ships. If the scales are different, then it won’t be interesting to look at all this. I calculated everything properly and determined that both of my ships are not in 50 scale, but in 1:55!
A true modeler must use every scrap of time for his favorite hobby! In 9 hours I have to leave for the championship, but I still managed to make the frame. All frames are glued tightly. Before this, they were installed absolutely precisely along the axis of symmetry. Additional stiffening ribs between the frames will level out my “herring”, so there is no need to worry. I am already convinced for the 3rd time that a precisely constructed 3D model and then precisely cut out parts allow us to get rid of a bunch of jambs during the construction process. The convergence of parts is perfect!

Finished the decks and leveled the hull. The jumpers between the frames added additional rigidity. A little more processing and you can sheathe it.

I began to gradually cover the sides with rough sheathing.
On cell phone I won’t shoot anymore due to severe distortion.
The body turns out to be very strong, and even with 1/3 of the sides covered, it can no longer be twisted around the longitudinal axis. Thin (2 mm) frames are, of course, good in the sense that there is almost no need to grind them down to lay the sheathing, but on the other hand, they are very inconvenient for driving in nails.

Why rulers and not plywood? plywood with a regular knife You can’t cut it easily for paper, but it’s easy for rulers.
Besides good plywood costs approximately 2 times more in terms of area and waste is inevitable, because There are always some stupid corners and trimmings left.
When making elements from rulers, I select the required length for each section of the part so that having built the entire skeleton in the photos above, in total there was less waste than 2 30-centimeter rulers!! Those. This is waste-free construction!

Almost finished the rough trim. It took 2 evenings so far to cover the slats. Unfortunately, the lines ran out again - that’s why I stopped.

This is already lens distortion!! And on last photo It’s not clearly frontal at all, but the body is slightly turned out. At a length of 60 cm, the slips seem terrible even with minimal rotation of the body.
As soon as I sit down at the ship, I will pull the thread along the axis of symmetry to show evenness.
When assembling the frame, a problem arose that one ruler was slightly thinner or thicker than the other. But when building frames this does not create problems. The same goes for rough cladding. All the same, then the body will be heavily sanded and everything will be smooth. Where thickness is important, I first calibrate the rulers by thickness.
I'll start with the bad news: Mr. Scrafter ( Karopka.ru forum user. Note website ) turned out to be right. Having a diamond eye, he actually determined the roll of the hull. Having broken through laser level hull, I determined that the stern, starting from the third quarter of the hull, moved to the right by 4 mm from the axis. Still, I didn’t follow somewhere. It’s good that this won’t be visible (given the specifics of the model). Otherwise - into the fireplace and for refurbishment.

Now about the rest. Since in all my fairy tales initial stages are similar, then I skip them. The rough cladding, as always, is with rulers; the finishing, as always, is 0.5 mm ash veneer. The veneer has run out. So, I'm waiting for deliveries. I installed the velvets, but I also ran out of nails. So for now everything is halfway there. I made platbands around the ports of the upper gun deck. Cut from rulers, wall thickness 1.5 mm. This is on the verge of a foul: the frames simply broke under the instrument itself without pressure. I had to saturate the wood with cosmofen and after drying they were processed normally.

While waiting for the veneer and nails, I decided to work on the tank. I tore out part of the deck and installed beams. I cut out bird heads at the ends of the crane beams.

Rulers should never be soaked - chaotic warping of the wood begins, which is not restored after drying. I either cut the tree or bend it into living parts with micro-fractures. This is when the first fibers begin to crack, but the lath itself still retains its strength. Depending on the curvature of the arc, you just need to select the appropriate segment length and break the rail with such segments. After sanding everything looks great.
The fruits of today's drinking simply amaze the imagination.
While waiting for the veneer, I decided to work on one of the bulkheads. I spent 3 hours sharpening this piece:

It seems that everything turned out very well, and after tinting and fouling it will look just right...

Only one jamb was discovered... This part is from the wrong deck!

Only one thing made me happy today - the veneer arrived. Out of grief, I’m going to continue sheathing the body. Today there is no strength to redo this part.

The hinges are photo-etched from the shipyard.
The arcs are cut out with this tool:

By the way, do you know that you can successfully seal incised wounds with Cosmofen? It really helps to get back on track quickly.
I gathered my willpower into a fist and cut out a new bulkhead, albeit smaller in size.

I use SA-12 Cosmofen glue. Nothing is soaked in cosmophen. I just coated the piece of wood with glue, waited 2 minutes for it to dry, and it was ready to be processed. Due to the large liquid of the glue, it penetrates the wood along the fibers to a greater depth, strengthening it more from the inside than from the outside
I placed the model on the stand. I partially covered the sides and made buttresses on the starboard side. Since the ship will be very heavily overgrown with algae and has almost no clear corners (not overgrown), there is no need to seriously worry about the exact gapless connection of parts, which significantly saves time and nerves. The hull below the waterline was deliberately sheathed only in places. In these places the boards will be visible, in the rest everything will be “overgrown” and, accordingly, will not require plating.

I installed buttresses on the port side and partially covered 2 decks. I made decor around the bow guns. I started aging the body. All threads are made with a tapered diamond shank. How I made the muzzles: I glued 2 more layers of sheathing onto the bow frame skin and already cut out the muzzles in it. The hull was aged by drilling the shank into the body of the casing and breaking all the entrails out. After which everything is filled with cosmofen.

Modern trends sometimes require giving things and products a certain “aging” (“weathering”), which is expressed in the fact that the model does not look like it was newly acquired or assembled, but has all the characteristics of one that has already been in use.

Making a product “aging” is not at all a panacea for making up for inaccuracies during assembly and painting.

To impart a typical aging standard, a dark wash is successively applied to the product, which is then lightened with a dry brush, thereby emphasizing individual details of the product.

The result of such creativity is the spectacular appearance of the model. The only question remains is how correct it looks after giving it such an effect, so that unnecessary questions do not arise: why does it become lighter when the part protrudes significantly from the surface of the armor? To make “aging” natural, you need to achieve maximum repetition of several actions that occur in real life and then the thing will turn out to be dirty with traces of use.

We all really enjoy looking at old photographs. family albums. And the older the photograph, the more reverent and tender our attitude towards it. It seems that people were kinder then, and the world was cleaner and the trees were taller. You can look at old photos endlessly, reverently and admiring every crack, because behind each of them there are years and decades.
Is it possible to create something similar using modern methods? Something like that, with torn edges, a worn surface here and there... Feel like a “woman with vintage photography", slightly touching the era of romanticism? Or a respectable man in a strict trouser suit, looking intently through the decades, which the dilapidated yellowed edges hint at us?
As a well-known character used to say: “Elementary, Watson!” I will show you how I do it and reveal to you all my simple secrets.

Only the hero, or rather, our model today, depicting a view from the past, will be the little girl Alexandra. Toilet items hastily selected for this occasion, in my opinion, maximally convey the atmosphere of the past, just like Teddy Bear, who for some reason even appears on almost every children's photo a lowered stocking from that time. And only modern Velcro shoes will not let us forget that this is just stylization. Or, more precisely, as it turns out below, a sublimation of the past and present. Let's start with the fact that today this can be done with just one click. For example, this is what happens when using the OldMovie Photoshop plugin:

Or, at worst, turn your photo into a grunge picture of dubious artistic value using the on-lain editor Befunky.com:

But we are not looking for easy ways! Where are the rips and abrasions for which this lesson was started? Chewed corners, scratches, stains and antique frames - that's what we should strive for!

First, let's strip the original photo of color.

Convert Image >Adjustments >Desaturate. And this is what happened:

Now let's give the photo a yellowish tint. This can be done in several ways. For example:
Image >Adjustments >Hue/Saturation
or Image >Adjustments >Photo filter and select the desired shade there from dark yellow to sepia, depending on what you want to see in the end. Well, today we'll go
Image >Adjustments >Color Balance and just move the slider to the yellow side.

As you can see, the photo has simply turned yellow, more or less, but it still resembles the attempts of a careless teapot (nothing offensive, because in fact I am one) to ineptly imitate antiquity. Eh, a pathetic Chinese fake, as they would say in KVN.
But... And now heavy artillery is entering the battle, a highlight, a cut of our crystal, a vignette of that very essentially false essence, because of which many asked questions " How is this done?" and which I considered my own invention until I realized that it was not so.
Phew! But, if this were not so, I would still have to come up with this method. So (drum roll sounds), meet:
Her Majesty Substrate! Or texture, if you will. IN in this case this is a scanned reverse side Photos from more than a century ago, taken from here:

All we have to do is “try it on”, merge the real antiquity and the surroundings of the present into one whole, which is what we do:

Transform the texture over the entire size of the photo and click on it with the Magic wand tool (“ Wand"), which selects a continuous area of ​​pixels of the same color. We clean them with a brush. I usually do this with one of the specially downloaded set of vintage brushes. The same spots, scratches and even fragments of the inscription remained intact on the surface.
Merge layers:

And here, in all her centuries-old glory, the maiden Alexandra looks at us with wide-open eyes, as if through time. Voila!

The same can be done with any photographs found on the Internet. You just clean out the middle and try on what you need. Simple as a damn egg!
And here’s another option, we change only the “clothes”:

Finally, I would like to say that one’s hand gets better as a result of long experiments with color, substrates and textures. Could have added grain Filter >Artistic >Film Grain. But I don’t always consider it necessary to do this. It would have been possible to make the photo duller and faded, but here I considered it inappropriate. Everyone has their own ideas about antiquity.
Don't be afraid to experiment and combine! And one more piece of advice from me, if you are going to seriously approach the issue of aging a photo, you cannot do without a set of brushes, textures and even fonts.