Tuesday, July 28, 2015
Port bow detail -closeup view of Mayflower II miniature.
I often wondered what it would be like working around the clock researching notable ships of the past. If the effort would have brought reward or become futile and useless. It was, for the most part, a judgement call that required all my abilities and focus.
Such work had a special class of application that was totally separate from conventional methods. It just wasn't enough to have skill with miniatures, but a sense of purpose relative to the workmanship applied to them. It is an art form like no other...and every detail placed in one of these can truly be appreciated in its presentation. There are no shortcuts, just long hours of dedication.
There have been countless models made of the MAYFLOWER...in every form and fashion. I was always fascinated with this vessel because it was symbolic of the American spirit with its origins beginning in England c.1620. Many kits were surfacing in the 1960s on this ship and 15 years later American maritime featured scratch-built types on the floors of its galleries. From this, I explored and researched the possibilities of honing in on mastering a miniature to the exact detail of the one built in England in 1957. It took forty years, but I was finally able to accomplish it.
This photo show the beginning process of the build.
I purchased a book on Mayflower II during the early '80s. This was the decade when much of my maritime art was making its debut in and around New England and my native New York. As I built my ship models I discovered a great quality in one particular wood. This wood was pine. My contemporaries were using pear, boxwood, mahogany, etc., all fine woods. But I chose this wood because it was not just durable, but carried qualities which assisted my hand skills.
In the photo I utilize the pine effectively, cutting the hull to align with the grain. This process make it easier to simulate planking and trunnels on a solid hull model. Careful application of pencil drawing is necessary for it to work and be believable to the naked eye.
As planking is applied to the outer hull, it usually start at the waterline in the early stage so that I can achieve definition for the topsides. My second, and most important concentration, lie with the interior deck furniture. This may take from two weeks to several weeks -depending on the detail involved. When building the H.M.S. PRINCE c.1670 the interior took a month to endeavor. Here, the MAYFLOWER is less complicated, so her interior was a two-week process which included the ship's boat.
Fast forwarding...
The MAYFLOWER miniature hull and masts are complete and the rigging process now begin. With all these models I keep the hull from being scratched by setting them on a tissue-covered cradle which I custom make out of styrofoam...Portable containers are also made from this material which makes it easier to transport and store the model away to prevent damage to intricate parts. I also use this material to ship the models with a 100% percent success rate.
Here, I am working on the foresail rigging after all the spritsail details are applied. Because running lines are tedious, ratlines (standing lines) are applied in balance so not to fowl the process. By this method I am able to bring to my models true realism with actual threads -as opposed to glued wires.
When taking on this genre, I studied the work of my contemporaries and appreciated the skill of their workmanship. However, in the process, I found that more could be done by going a 'step further' with using antique threads and running them through tiny wood blocks down to their belay points on deck. At shows and other venues, I was always questioned about this process. As a result, serious collectors have commissioned this work based on its purity.
This starboard overview show the exquisite detail of the miniature. The beauty of the work is centered around the entire model. Much credit for this work is to God's glory for giving me the fortitude and ability to achieve a work that so many have produced; yet, build it in a unique way that captivates the imagination when taking a 'second look'...Second acknowledgement go to Mr. William A. Baker who put Hingham, Massachusetts on the map when he designed the ship and sailed with her from England to America. But all that could not have happened had it not been for those individuals in the forefront and behind the scenes that brought this ship into reality. My model is just a reminder of what people can do when they become a united front for mankind. I document my miniatures based on this premise -a united front.
This photo show the rigging symmetry of the 16th-17th century and its romanticism of the period. It is not enough to just build a model without, first, studying its history. Better work can be achieved when one can familarize with the subject to such a degree where a foundation for excellence can be realized. The rigging methods of this period has long been a fascination to me. Working with the builder of the contemporary HALF MOON in 1988, I was able to learn and add to my expertise, as both historian and ship model builder, that experience which assisted in my preparation to produce classic sailing ship miniatures such as the one featured on this page.
MAYFLOWER II in her original colors when first built in 1957...
In April of 1957 a sailing ship set out on a 54-day voyage across the Atlantic from Plymouth, England to Plymouth, Massachusetts. This small vessel was MAYFLOWER II, a reconstruction of the original MAYFLOWER that carried the Pilgrims to North America in 1620.
I have meticulously captured this famed vessel in miniature, based on the plans established by her designer, William A. Baker, who in his own right was a leading authority on early shipbuilding and naval architecture.
Video of the historic voyage of MAYFLOWER II circa 1957 from England to the United States.
The finished model...
This miniature is one of a series of ship models I built in a ten year period, beginning with my model of HALF MOON in 2005. This model is the result of a 45 day process and is built in three woods of pine, birch, and bass. Much of the work is handcrafted in minute detail with accurate interiors and color. The model is full-rigged with linen thread and miniature wood blocks. The sails are especially unique because of its paper content which is carefully treated for longevity under climatic conditions.
The scale of this miniature is 1:200 with an overall length of 8 1/2" inches. All work is accompanied with a custom, plaque hand-scripted display case. For further information, contact the artist at Caseships@yahoo.com or rexstewartoriginals@gmail.com. Phone contact 1-774-757-7137. Website visit https://www.linkedin.com/in/rexstewart
Saturday, January 10, 2015
Stern flags on contemporary steamboat model NANTUCKET as she appeared in 1887. The house flags behind the paddleboxes are shaped as if blowing in a half-breeze, while the American flag flaps at a sudden windburst...Same wind velocity, different movement.
To a Society that safeguard its Nation, flags have served as a symbol of independence and identity. Flags have also identified, to a limited degree, cultures from around the world. It (the flag) serves as a foundation for cultural exchange -as is represented in those cloths which fly on the grounds of the United Nations Building in New York City.
I have always been intrigued with this cloth since youth and experimented with its 'free-flow' design in paintings and drawings before working in three dimensional genres. Movement in form has always been the focal point of my flag designs -whether on paper or in wood. During my earlier period I made these from soft metal but decided to bring more realism to the models by adhering them to fiber and/or linen ropes as opposed to wire.
Port stern view of Newburgh, New York steamboat HIGHLANDER flying American flag of 1832.
Flag and pennant on Revenue Cutter LOUISIANNA of 1823. Based on the bend direction, folds illustrate a moderate breeze.
For years I studied the flag pattern as it embraced wind movement, and painstakingly copied it to my pieces. Small detail which I found overlooked in many models -sails blowing to wind but flags stiff and lifeless...
These images of models I've built illustrate how effective flags can be on ship models of any scale. As an artist, first and foremost, I enjoy designing and painting them, whether on paper or wood. The effect is the same which ultimately lie in the concept of the folds. The shapes bring out, openly, an art form that is both interesting and exquisite.
VOC Dutch ship BATAVIA display flags flying in moderate to high winds.
Bow detail of New York Harbor steamboat ferry JAY GOULD c. 1869. Union flag is folded to
illustrate the type winds found in and around the Hudson River between New York and New
Jersey.
Mast and early ensign on Revenue Cutter DALLAS c.1815. Ensign flag is carefully folded to
hanging position in soft wind.
Miniature flags of 1670...British Royal Standard flying to heavy wind.
Close-up stern view of flag flown in high wind on English galleon H.M.S. Revenge c. 1588.
Author working on stern of H.M.S. PRINCE c.1670. Ensign flag is shown in moderate
breeze position.
Portside view showing flags and pennants flying on New York's Hudson River Day Line steamboat ALEXANDER HAMILTON c.1959.
Flags are an essential part of any model. There are occasions when such isn't warranted, but I make every effort to enhance my work with them. For further contact email: Caseships@yahoo.com or rexstewartoriginals@gmail.com. By mail: Rex Stewart, P.O. Box 1242, Albany, New York 12201. Phone: 1-774-757-7137. Website visit https://www.linkedin.com/rexstewart.
All inquiries are welcome and appreciated. Thank you.
Subscribe to:
Posts (Atom)