Patterns
"...I am going to try to make something
out of copper this winter and will follow your advice. Now I'm worried
about forming the bucks...any tips?"
-John-
Take a block of fine grained hard
wood (any fruit wood such as pear, apple cherry) and draw on one side (from
your plans) the side view of the car body. Then with milling machine, or
mallet and chisel remove the waste wood straight across the block, back
to the line.Do the same for the top view and the front or back. Your should
now have a squared body block. Round the corners on one side to your satisfaction
and provide the block with a centre line all round. Cut a card template,
from bottom up and around to the centre line for several sections along
the body block and use these to round the other side to match the first.
You now have a ‘Buck’ to form your sheet copper over and around.
-GAW-
Back to Top Index
Bodywork.
"...Referring to your book, the pictures
seem to indicate that you 'hammer' in the fender bead and beltline details.
Without being presumptuous, may I ask how you
accomplish this feat on models much smaller than the scale I work in?
May I inquire as to your technique?"
-Pete-
Mouldings are formed in brass or copper
and soft soldered in place on the bodywork, as is the beading on the inside
edge of fenders.
-GAW-
---------
"...When you fix the Bentley fenders and
side pieces to the chassis are they held in place with screws, if so how
many?"
-Jimmy-
The louvred side aprons are first bolted
to the top of the frame in positions that can later be used to bolt the
body in place. The fenders front and rear are then soft soldered to these
and bolted to the side of the chassis frame at the point of the fender
stays. When the body frame is fitted to the frame it is drilled with clearance
holes at the positions of the first set of bolts so that these can then
be used to hold the body in place.
-GAW-
---------
"...How often did you need to heat the
body metal (current project photo 189) to anneal it for making the shape?"
-Sandy-
It was probably reheated about a dozen
times before I had the finished shape and the silver soldering at each
end. Annealed copper will take quite a lot of bashing, however as
soon as it shows signs of wanting to spring back and will not compress
further, it should be reheated to a cherry red and quenched to make it
workable again.
-GAW-
---------
"...Why is it that when I anneal copper
sheet and quench it in water, it always comes out black - yet when you
show it with the Bentley model it is always bright copper? "
-Stephen-
Before reworking the copper I put it into
a pickle bath of a weak solution of sulphuric acid (car battery acid) that
removes the black oxide caused by heating. There are many safety issues
involved with the use of acid in the home and workshop that you will need
to consult before attempting this, so I cannot recommend its use. Abrasive
paper will remove the oxide in the final stage.
-GAW-
---------
Back to Top Index
Louvres
"...I am sure you have recieved many requests
for your method of making louvers with the only tool being a pencil. So
here is mine to add to the list."
-Bob-
In this method of making louvres, I use
the etching process to do the cutting, so all that is needed is the art
work for the etcher.
To draw a simple louvre we need four lines. The
first ‘A’ is the cut line, parallel to this and slightly shorter is a second
line, with lines three and four at the top and bottom as quarter radius
joining the second line to the first. These last three lines together are
crease lines ‘B’.
The practice in the UK when producing the art
work for etching is to draw the lines that are to be cut through the metal
(etched from both sides) in black, and those for etching on one side only,
ie. detail, or in this case for creasing, in red. It is also the practice
to produce the art work four times larger than the finished size. The etcher,
when he makes his films, will, in the process, reduce this to the finished
size.
I now draw the complete set of louvres four times
size, cut lines ‘A’ in black and crease lines ‘B’ in red, this is
the art work from which the louvres will be etched.
I then make a copy of this but have all lines
in black and the area between the lines ‘A’ and ‘B’ (the louvre)
blacked out. Just outside the area of the louvres, draw two circles
half an inch in diameter and fill these in in black also. This is one part
of the tool for forming the louvres, and you will require six etched sheets
to be produced from this art work for every one of the louvres proper.
The etcher will copy and repeat this in making his etching film so only
one drawing is required.
When the six ‘tool’ sheets are returned from
the etcher, they are stacked one on top of the other on a piece of flat
hard wood. The round holes (now one eighth inch in diameter) are lined
up and a one eighth drill passed through into the hard wood. Into these
are fitted short pins to hold the sheets together.
These tool sheets have louvre shaped holes where
the louvres would be, the stacked sheets now form cavities, so when the
louvre sheet is located over this, the actual louvres can be pressed (formed)
into these cavities, crease side up. To do this, take a small scrap piece
of brass or hard wood and make a rounded dome on the end twice the width
of a louvre, then file half of one side away. With the flat side against
the cut of the louvre, press down and move back and forth to form the louvre
into the cavity.
.008 inch brass is best used for the etched sheets,
however I prefer a hood to be at least twice this thickness, so I make
a second copy of the louvre art work and black out the area of all the
louvres. This will produce a brass panel with a large hole in it, exactly
matching the size and shape of the louvred area.
Tin one side of this and the inside of the louvred
panel and soft solder together with a soldering iron, trim and form panel
to shape. All 2.9 Alfa Romeo louvred hoods were produced using this technique.
Click on the eye ball at 125-E to see the results (64 - 65 - 66 & 69)
-GAW-
---------
Back to Top Index
Materials
"...I am trying to locate some small 1/32"
hex rod in either aluminum or brass? Any ideas? I have already found the
Special Shapes company."
-Stephen-
Regarding the question of 1/32” hexagon
rod in brass or aluminium, I do not think that I have ever seen any that
fine. If I have a need for it in small pieces, I put a length of suitable
diameter in the three jaw chuck on the lathe, and with a fine flat file
put the flats on with that. With the file held horizontal and one jaw at
the top, file the first flat, turn the chuck slightly so the next jaw is
pointing down and file the second flat. Rotating the chuck in this way
- three jaws up and three jaws down - with a slight flat applied at each
setting will produce a very good hexagon rod up to about 1/16”
-GAW-
---------
"....I want to realize pieces in brass
for personal models during my leisure time. Could you tell me the wood
you use to build patterns for forming car bodies?"
jean-bernard
-----------
Apple, Pear, and Cherry are very good.
Make sure it is dry and stable, and glue blocks together to make up the
thickness before shaping.
GAW
Back to Top Index
"...I always dread the moment of painting
the car. Right now I am busy building a Creative Miniatures Associates
1970 Ferrari 312B formula 1 car in 1/12th scale. It is a resin body and
I primed it twice with a grey pimer and I have given the body four red
coats of Dupli Color acrylic paint. Right now I am wondering if I should
give it one or two additional clear coats. Do you ever clear coat your
models? On a seventies racing car I'm afraid it is not realistic to put
on such a high shine. I have seen pictures of the car in the Donington
Collection and it looks quite battered. What is your advice? Go for a high
shine or remain faithful to reality? I know you advocate polishing your
model after the final coat, but a complicating factor in this case is that
the body is fully riveted and that I will lay bare all the rivet heads
while polishing. Have you got any idea on this?"
-Ham-
All of my painting is undertaken with
the original Cellulose paint finish that was used on the cars in the 1930s.
This has the advantage that each layer eats into the previous one as you
build up the grey primer and/or top colour coats, so that when you rub
this down and polish the final finish, you do not get the ring pattern
that you sometimes get with other paints.
I have no experience with acrylic paints and
do not know if they work in the same way, so cannot offer you advice on
the use of these paints.
In general though I do not like the very high
(glass) gloss finishes that can be obtained with acrylic paints. I much
prefer the polished sheen that has always been the hall mark of a cellulose
finish.
I would think that if you have built up a good
thickness of colour on your model, and you have a smooth finish (apart
from the rivet heads) then a gentle rub over with a very fine metal polish,
would take off he high gloss and replace it with a sheen, more befitting
the scale. Any rivet heads that appeared to have been polished through
could be touched up with the original paint, using a very fine paint brush.
-GAW-
------------
Back to Top Index
Techniques
"...Although I have followed your work ever since the publication of
the first edition of CCM, it is of great value to see your latest ideas
and be able to use them in my own models. If you were to ask what sort
of topics you could cover in the future I would suggest the making of the
very small items that give such authenticity and incredibility to the final
product.eg, the steering arms and brake lever parts for the current project
shown in Photo 121, Gallery 9.
A problem which is currently taxing me is the production of the engine
cooling water hoses. The straight or slightly curved ones are straightforwardly
made from suitable rubber/plastic tubing, (although material for the very
small sizes is difficult to find) but those which in the prototype are
moulded to give right angled bends are proving awkward! Have you any advice
please? Further to this, could you also give guidance on the associated
pipe clips, Jubilee clips in my own case?
John
-----------
Regarding your water pipe bends, why use rubber or plastic?
Why not use brass or nickel silver and paint it. Regarding Jubilee clips,
I turn the ‘rubber’ and the clips (squeezing the rubber) in nickel silver,
then drill the centre to fit the pipe. If you need to add the locking screw
this can be added with silver solder to the two rings. After polishing,
the rubber part is painted in matt black to simulate the rubber.
Items like brake levers are turned on the lathe in brass or nickel
silver slightly smaller than required, then hit with a large hammer (not
on the lathe) on a steel anvil to flatten them. After drilling the
two ends they are ready for assembly. Larger items like steering
arms will also be turned on the lathe but have the two flats filed on them
while still in the lathe, before parting off.
GAW
--------------
...'Really enjoying your galleries. The more pictures of details
the better!
I am wondering how to remove the brass from INSIDE your headlights.
I am clear on using a formed tool for the outside housing but the inside
I am thinking using the mill? But then you would not have a bulb...????
And how are you making the rings for inside the headlights (reflector
assemblies or lens holders)
And last, but not least...are your lenses made from glass or plastic?'
-John-
--------------
Check out Gallery-17 photos 244 & 247 in ‘View Bentley-Build’
and
Gallery-5 photos 70 & 71 in ‘View Duesey-Build, and take a close
look at the head lights.
These are made in one piece from brass rod with the first operation
being to bore out the reflector and the bulb together with a recess under
the front rim to take the lens, which is cut from clear plastic.
I use an ‘L’ shaped boring tool for this operation. If you can imagine
the long leg of the ‘L’ in the tool post and the short leg being away from
you and turned to the left, being the business end. This is ground
with cutting edges on both sides and is used with the lathe running in
reverse. It is used to carve rather than form the inside of the lamp.
The back cutting edge has a radius and a lip on it coming around to a straight
cutting edge at the front nearest you. Rough bore the inside of the
lamp to remove most of the material, then with the machine in reverse,
form a small recess under the front rim of the lamp with the lip on the
tool, then bring the tool across at an angle to form the reflector to the
diameter of the bulb, then out and around to form the radius on the bulb.
It sounds complicated, and does take a little practice but it is how I
have made all the lamps for the past thirty odd years. When polished
and chromed with the lens pressed in place, they look real. After the inside
of the lamp is bored to shape, the outside is carved in a similar way.
It looks at first that if you were to make a form tool the shape of the
outside of a lamp and force this into the brass bar you could form the
outside shape in one operation. By forming the lamp with it facing
out, you will be reducing the material at the back as the cut gets heavier
and it will break from the bar with a very bad finish before the operation
can be completed. It is best to rough down the back conical shape
and part finish with a file, leaving just the tip to be finished in a second
operation with the lamp held in a split collet (photo 245 Bentley-Build)
-GAW-
----
'...I'm experiencing great difficulty to locate an outside firm capable
of nickel and/or chrome plating very small parts. In fact, to date,
I have not found anyone that is willing to do small scale plating.
I have to imagine there are other scale model builders that require
said services. Do you have 'contacts' over here in the U.S. that
may lead me to a reliable firm specializing in plating small parts?
At this point, I'm contemplating the purchase of a plating kit.
There are several companies that offer the kits for nickel and chrome plating,
but I'm hesitant to do so for fear the results may not be satisfactory
as I have no experience in this area of expertise.
Please advise me as to the best possible solution.
My next question is with regard to the appearance of the engine cooling
radiator core. I'm having difficulty replicating the 'honey comb'
look as it would appear when viewing the radiator core from inside the
engine
compartment. Help with this would be greatly appreciated. I'm
also having difficulty choosing the 'correct ' abrasive blasting media
to clean up various components. Is there one type you prefer over
others?
I have constructed a 'blast cabinet' and have obtained the blast gun,
rubber gloves, ventilation system, etc. In addition, I have reviewed
technical information regarding the various blasting media... crushed glass,
soda, corn cob, walnut shells, etc. but am reluctant to purchase same (at
$40.00 to $80.00 per bag) until I better understand what media I should
be using.'
-Pet-
------------
Nickel Plating - I do not know of a plater in the USA, however
I would not discuss plating very small parts with a plater as they will
run a mile if they think that they will have to handle them. I have
found it far better to go see them with all your parts soldered to a wire
tree,(see photos in ‘View Bentley Build’ and ‘View Duesey Build’) so all
they have to do is twist the end of the wire onto they plating frame, dip
it into the plating bath and then give it back to you.
I would not contemplate purchasing a plating set-up unless I was intending
to make far more models than I currently do, and then I would hesitate.
Radiator core - On most models I use fine brass wire mesh
as it is usually painted black and hidden for the most part by the engine
and fan. Other wise I have drawn a pattern of the honey-comb and
used it to have it etched into thin brass sheet.
Sand blasting - I find the very fine sand supplied for
the purpose to be the best for cleaning the model parts, however care is
needed in using it as it does CUT, and can, if the air pressure is too
great, cause problems with very small parts. Fine glass beads are
also very good for a fine satin finish, but they do shatter to dust so
do not last as long as the fine sand.
-GAW-
----------
"...I have a question concerning electroforming. I think you
briefly discussed this in one of your books and it's been my longtime desire
for you to go into the subject further. Do you use this process?
Does your process involve a plaster electrode soaked in a electrolyte?
It seems to me that over the years I recall you mentioning this in one
of your books and then I followed up with research and found that there
is a electroforming process that uses a plaster electrode that has been
cast from a male or female master pattern and is then bathed and kept wet
with an electrolyte liquid, then placed against a metal block and
electrical current is used to etch the metal away until you're left with
the shape you desire in metal.
-Byron-
-------------
With regard to the ‘electroforming’ and ‘ etch forming’
(called spark erosion) these are two different processes. In
the former you are building up a metal layer to form a thin shell and in
the latter you are etching away metal to form a shaped block. I have used
the former but not the latter.
In electroforming, a female master is made then sensitised to allow
it to pass a current of electricity. This is then placed in an electro-plating
bath to grow the part. I did experiment with the process some years
back, with the help of my local plater, to form car bodies in nickel. However,
I have since found it much easier to beat them from sheet copper and brass
and so I no longer use the process. For your interest, I first carved a
hard wood block to the shape required, for example a fender. This was then
finished to a high gloss and polished. A thin fibre glass shell was made
from this and painted with a silver paint on the area of the required shape.
This is a special paint used in the electronics industry to map out circuit
boards and consists of a suspension of silver in a liquid. When it
dries it will pass an electric current, unlike aluminium based silver paint.
With the actual fender shape only so treated, a screw or two are fixed
to a waste portion of the shell in contact with the silver paint and wires
attached for the plater to wire the part to his plating frame. My
plater would leave the part in the nickel plating bath over night until
we had a deposit of about ten thousandths of an inch thickness. However,
you do need the cooperation of a friendly plater to be able to experiment
with the process. I did find that the nickel deposit was very brittle
but would probably improve with a further deposit of copper.
-GAW-
-------
"...I was just studying the photos of
the Bentley project on your web site. I notice that you are using a torch
on the chassis and axles. Why is this preferred to resistance soldering?"
-Rick-
Resistance soldering is used for soft
soldering, cored lead solder, while the torch is used for hard soldering,
silver solder. It is possible to silver solder with the resistance soldering
carbon rod but it is apt to spark erode the metal in the process.
Resistance soldering is ideal for soft soldering
very small pieces to very large pieces as the heat builds up very quickly
just at the point of contact, as soon as the solder runs, switch off the
power and the residue heat dissipates just as quickly with out disturbing
other joints. With a flame or large soldering iron a much larger area will
be heated to soldering temperature, so providing the chance of disturbing
other soft soldered parts.
-GAW-
---------
"...Why do you need to put the green padding
inside the gas tank?"
- Randy -
The petrol tank still has some work to
be done on it after the sides are soldered in place and cleaned up, such
as drilling the side holes and fitting the brass angled beading around
the end to hold the mesh in place. As the tank is quite large and
the brass sheet only .018” thick, it would still be quite easy to distort
it without this added padding.
- GAW -
---------
"...What thickness of brass sheet are
you using to make the shock absorber parts from?"
- Doug -
I am using nickel silver sheet for the
shock absorber leaves of .010 “ thickness. This is slightly harder than
brass sheet, which is an advantage here.
- GAW -
---------
"...When you are silver soldering large
pieces like the chassis frame in photos 8 and 9, (current project) and
very small parts like in photos 42 and 53, are you using the same torch
or do you have a large one and a small one. And what gas do you use?
I am thinking about getting one of the small Acetylene torches - would
that be suitable?"
- Mark -
I use Propane gas torches for silver soldering,
a large one for the big jobs like the chassis frame and a very small one
for the more delicate work, both are run from large gas bottles.
There are a number of these on the market now
with small replaceable bottles that are suitable for silver soldering,
both large and small sizes, and quite inexpensive. For very small
work I have seen some not much larger then a fountain pen that are charged
from a gas canister such as those used to recharge cigarette lighters.
I have one of these which came complete with six different sized interchangeable
nozzles that I use from time to time and it is quite adequate for very
small work.
I would not recommend Acetylene torches, however
small, as the temperature is much too high for silver soldering and you
have every chance of melting the parts. The aim in silver soldering
is always to heat the parts to be soldered (not the solder) to soldering
temperature and let them melt the solder when you apply the solder wire
to them.
- GAW -
---------
"...On the Bentley chassis X members,
I couldn't see holes at the ends. Have you provided them, and are they
held with tiny dowel pins during silver soldering? If not, how are they
aligned and held during soldering?"
-Raman-
The first operation in making the chassis
is to mark out and drill small pin holes wherever something is fitted to
the side member, inside or out. This is done to a master pattern directly
from the plans, which is then used to mark and drill each of the actual
side members. Several of the holes are then used to pin (rivet) the side
members together for machining or filing to shape. After this they are
separated and the flange top and bottom is silver soldered in place. The
frames are then bent to match the plans, in the case of the Bentley - parallel
over the front and rear springs and tapering from rear to front between
them. The cross members, although of ‘U’ section, are in fact fabricated
from thicker brass on the vertical than the flange at the top and bottom.
When placed between the side members, the drill holes can be extended from
the side member into the thicker vertical ends of the X member. These are
then provided with small pins to locate the parts for soldering permanently
in place.
- GAW -
---------
"...I have ordered a lathe and milling
machine and renewed my interest in building model cars. Have one of your
books and love your website. In gal 6 you show shock fittings with a nut
and bolt affair. Are these machined out of hex brass to show an assembly
or are they actual nuts and threaded rod?"
-John-
The shock absorber brackets (photo 58
Current Project) are machined from brass rod, threaded 14BA and fitted
with brass nuts machined from hexagon brass.
-GAW-
---------
"...I can see lots of very small hexagon
head bolts on your Bentley model, the only screws I can find have round
heads, who is your supplier or do you make them?"
-Phil-
I make most of my hexagon head bolts as
follows. If they are very small and only for show (do not need to be threaded)
they are made from round headed rivets 1/32” and 3/64” in diameter. Hold
the stem in a small pair of pliers and with a second pair pinch the head
in three places to form the six flats.
For small threaded bolts that are needed to hold
parts in place I use cheese head screws and fill the slot with hard (to
be chromed) or soft (to be painted) solder. Then holding the stem in pliers
and with the safe edge of a fine flat file against the pliers jaws, apply
the six flats two at a time. With a little practice perfect hexagon
headed bolts can be produced as needed in very little time.
Never use slotted screws where they can be seen
on a model car.
-GAW-
---------
"...Why use stainless steel tube for hinges
- why not use brass? Where can I get stainless steel tube from in
these small sizes."
-Don -
I use stainless tube silver soldered to
nickel silver sheet because in most cases the hinges on the actual car
are chrome plated. If these parts were made with brass tube and then chrome
plated, unless a tiny allowance has been allowed for at each segment of
the hinge, there is every chance that the plating will lock the hinge into
a solid piece. Also, soft solder will not stick to chrome plate, so the
area to be soldered would need to be masked from the plating. Using my
process saves these complications.
When completed and fitted, these hinges can be
polished and will be in distinguishable from chrome plated ones.
To obtain the stainless steel tube you need to
check your local library trade directory for suppliers of hypodermic needles.
These are the people for whom the tubing is made. I purchase mine
in one metre lengths. If you have problems finding a supplier and
you are in the UK, let me know.
-GAW-
---------
"...When using a very small drill, eg
0.020" dia. or less, how do you prevent its wandering without the benefit
of a centre punch or centre drill mark? I am thinking particularly
of something like the spoke holes in a wire wheel hub or rim such as in
Plate 27 of The Complete Car Modeller 1, and when trying to keep the drilling
central in material rotating in the lathe."
-John -
The answer to your problem is that you
need a very short drill.
Check out ‘Current Project’ (www.Wincol.com)
Gallery-2, photo-15, and you will note that the shank of the drill is a
larger diameter than the actual drill, note also that the actual cutting
part of the drill is very short. It is possible to obtain these drills
in a number of small diameter sizes all with shanks of about .060” in diameter.
Check with your drill supplier.
If you cannot obtain this type of drill, then
try having only a short length of the drill coming out of the drill chuck.
Another answer is to drill a short length of brass in the lathe (starting
with a centre drill) turn the out side diameter down to about .060” and
soft solder the shank of a short drill into this.
For things like spoke holes a drill with flutes
of less than 1/8” length is plenty long enough, and with a larger diameter
shank or the drill close in to the drill chuck, will prevent any drill
wander.
- GAW -
---------
"...When you assemble your models what
sort of glue do you use, is it some sort of superglue?"
-Ken-
A little super glue will be used in the
final assembly but not to hold parts together but rather to stop them coming
apart. Parts that are not held in place with small bolts or screws if they
cannot be seen, are held in place with dowel pins, for a positive fit.
It is these pins that may be given a spot of Superglue in the final fitting
out of the model, to stop them coming apart.
-GAW-
---------
"......I am curious about one thing ( actually
more) and that is, how do you make the flexible exhaust pipes on the Duesenbergs,
Cords etc.?
- Ken -
There are a couple of ways of recreating
flexible exhaust pipes that I know of, one of which that I use and another
that I have seen other people use to great success.
The first is to make the exhaust pipes from copper
bar or tube and bend to shape, then wind these with a flattened copper
wire to simulate the flexible pipe. When complete, polish and have the
assembly chrome plated.
The second method requires that you apply a course
(screw thread) die of suitable diameter to a copper bar, in such a way
that you do not form a full thread, more a flat topped thread. The bar
would then be annealed and bent to shape, polished and chromed.
GAW
------
".......When the Bentley is finished,
I would like to take some external photos with houses or background landscapes,
like those that appear in your books. I have the images that appear in
your galleries of the Bentley, but I would like to ask you some questions.
Which lens should be used?
Do you fit a filter?
What roll of film do you use? 100 ASA?
I suppose that the diaphragm should be closed
(between 16 and 32) and low speed (between 1 and 8) as the light meter
indicates?
What material do you use in the base where the
car is placed, to simulate the road? It is sandpaper?"
- Francisco -
Regarding photographing models: the lens
you need is a 28mm lens and the base is a piece of thin plywood nailed
to a couple of cross pieces of hard wood that are curved on the top surface
to represent the camber of the road. This is then covered with a large
piece of sand paper, that is then sprayed black. Check out Bentley Build
> Gallery-21 photos-302/305 for the set up. Stop down the lens to f16 or
f32 for maximum depth of field, focus on the far side of the model and
adjust the time setting from the lighting of the model. I found that a
good sunny day with the sun behind but to one side of me gave the best
results. I also found the open country to make the most realistic background.
Something with short grass in the foreground with trees and or large building
in the far distance. A house close by is tricky, we are just lucky that
we have a long enough garden to just make it right. Check out the 2.9 Alfa
Galleries, particularly two and three, for what I consider good examples.
100 ASA film will be OK but it can be better
to use maybe 400 ASA to have a higher shutter speed in case of wind movement
of the grass or trees close by,
- GAW-
--------
Back to Top Index
Website
"...I find the Bentley photos so useful
to see how you build a model from scratch. Will you be selling a portfolio
of the photo set when you have finished the model?"
-Dick-
No, I have no plans to publish the photos.
When the Bentley Project is finished and we move move on to Duesenberg,
the Bentley Project will be moved over to the Model Gallery as Bentley
Build along side 2.9 Alfa Build. To find the Model Gallery click any ‘eye
ball’ on the Car Galleries, or you can find it at < www.geraldwingrove.com
>
-GAW-
---------
"...I would like to order the 1924 H6CHispano
Suiza, do the engine plans and prints come with this set?"
-Vincent-
Yes the Hispano plans (146-A)and photos
are complete with engine and chassis detail and are those used to build
the models illustrated. Although my models of this car only have the top
engine detail included because there is a full length under tray on the
car, the full detail is included on the plans for anyone looking to build
a complete chassis. The Hispano Supplementary photos (146-AA) also includes
a good selection ofthe engine and gear box shots, of a car being rebuilt
from the ground up.
-G.A.W-
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"...In regards to the photos in the different
groups I ordered, is it possible for you to provide them on a CD
in IBM-PC JPEG format(the higher resolution the better)?"
-Gene-
Sorry, we cannot supply the photos
on CD.
-GAW-
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"...Are the prices listed in the cat.
US funds or Pound Strl.? Also I can't seem to get to your home
page thru www.wincol.com on AOL, I find it thru an Italian model house."
-Teg-
If you cannot get to the www.wincol.com
web site with AOL, I think perhaps you may be using AOL-Mac-5 on
an Apple Mac computer. If this is so, it is a problem with the AOL-Mac
browser not your computer or the web site, and they do not seem interested
in fixing it. It seems they are not interested in Mac people anyway,
hence the PC AOL browser is now up to version 7 and they have no plans
to upgrade the Mac version.) I also have an Apple Mac (makes life
so much easier) and I have the same problem.
If you can get hold of a copy of Internet Explorer,
or Netscape Navigator, you should have no problem.
The prices are initially in US Dollars, however
if you place an order, when you get to the order form you will find a converter
for UK Pounds and Euros.
-GAW-
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"...I would like to order drawings of
the 1930 Duesenberg J. 120 Murphy, but if I understand the website
correctly, drawings are not yet available. Should I check the online
catalog from time to time to see when drawings are available, as I assume
they will be available at some time in the future?"
-Louis-
If you click ‘ORDER’ for one of the subjects
that is available, and then click one or more of the ‘REQUEST’ items, on
your order form you will note that no charge is made to your credit card
for the ‘REQUEST’ item, only the ‘ORDER’ one is charged at the price listed.
However the ‘REQUEST’ details come to us with your order so that we can
log them. As soon as we know which of the many subjects people are most
interested in we can then determine the order that we proceed with the
drafting of the remaining plans.
-G.A.W-
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"...I keep looking for a link on your
web site to the gallery of model photos. Do you have a link or have I missed
it?"
-Joseph-
We tried to keep the site as simple as
possible with as few buttons and links as we could get away with, so there
is no marked ‘Model Gallery’ link. However, click ‘Content’, then
‘Car Galleries’. Here you will see, if you scroll down, a series
of eye balls (50) against individual subjects. All of these will
take you to one of the Galleries showing the models built from the plans
and data photos available here.
When in the Model Gallery you will find at the
top a row of links to the other pages of model photos, including ‘2.9 Alfa
Build’ showing the building of a 2.9 Alfa Romeo. When the Blower
Bentley is complete and we start a new CURRENT PROJECT, this is where the
Bentley photos will be stored as ‘Bentley Build’
-GAW-
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"...a request: Can you give us more information
on the tools and supplies used? The link for small tools has only
one type of hammer and it's for watchmaking. Where does one obtain a repousse
hammer? I have The Complete Car Modeler, volumes 1 and 2. In these
books you mention various grades of sheet brass and copper. Can you give
us a source for these? The most commonly available sheet brass and
copper in America come from K&S, but it's 'generic'" .
- James -
We are based in the UK so it is not possible
for us to locate suppliers for all things, particularly overseas.
My hope is that fellow model makers will, in due time, be able to provide
this information and we can add it to the site.
My own supplier for the repousse hammer was H.S.Walsh
& Son Ltd in London, who have a web site at <www.clockmakerstools.com>
but you have to purchase a paper copy of their catalogue. Not every one
is fully on line yet unfortunately. However I can recommend having
a copy of the Catalogue if only for the illustrations of the wide range
of tools and materials that they hold, very many of which are priceless
for the model engineer.
-GAW-
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Back to Top Index
Books
"...A quick question on your books - you
show three books - the Complete Car Modeler (original - Hispano on cover),
and then CCM 1 (Duesenberg on cover)and CCM2 (Bugatti on cover).
Are they three separate books, or is CCM1 a reprint, with a different cover,
of the original?
Also, I tried to actually see the pricing on
some of the portfolios, but couldn't seem to get there - can you please
tell me where I can find this info?"
- Peter-
CCM-1 is a reprint of the original CCM
with the Hispano on the cover, except that is has a different set of plans
at the back, and an additional section on building the P3 Alfa and the
‘louvre press’ for pressing the louvres for the P3.
CCM-2 covers the work shop, materials, and the
building of a single model, the Weinberger Bugatti Royale. The plans and
data photos for this subject are 132-D and 132-DD Gallery-11 (WinCol.com)
Go to WinCol.com, Home page. - Contents, - Car
Galleries, - select a Gallery, - at the top you will see (blue links) ‘PRICE
GUIDE’ clicking one of these will take you to a page explaining the pricing
and giving the individual prices. Also if you click on ‘ORDER’ this
will also give you the price, which you can then cancel if you so wish.
-GAW-
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"...When you released the book on the
Bugatti Royale and I read and reread the ink from its pages, I knew this
was the direction my hobby was headed. I have built a better shop with
the tooling required, practiced my skills with these tools. I also long
awaited the release of your book, The Anatomy Of A Bugatti Royale, as a
guide. Has this book ever been published? It certainly would be able
help me begin to scratch build this car with the information you provide."
-Kent -
Unfortunately the book ‘The Anatomy Of
A Bugatti Royale’ was never published and we have no idea how it ever came
to be listed on the ‘Amazon’ web site. However the plans and data
photos that were to be part of it are now available as Portfolios 132-D
and 132-DD in Gallery-11.
-GAW.-
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"...Could you please advise the difference
in content between "The Complete Car Modeller" and "The Complete Car Modeller
1"? Are they the same editorially just published at different times?"
-Dave-
‘Complete car Modeller-1’ has an added
section dealing with the Louvre press (offering an alternative way of forming
hood louvres) and a different set of car plans at the back, from the original
‘Complete car Modeller’. Otherwise they are basically the same book.
-GAW-
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Comments
"...Just received the plans and photos
of the Rolls 40/50. The plans are extremely detailed and I spent the whole
evening glossing over them! Please convey my compliments to Phyllis on
documenting the car in such great detail. It was most interesting to see
details such as bottom view of crank case, 6 views of gear box, many
views of transmission brake as well as chassis and engine details.
I'll make a sincere attempt to model this car
to the extent possible!"
-Raman-
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"...How many people do you have working
for you and do you take apprentices? I really like all those photographs
of the Bentley model being built. How long does it take to build a model
like that?"
-Darren-
I work on my own with a working week of
about 70 hours most weeks, and I am very sorry but I do not take on apprentices.
The Blower Bentley project was started in December of last year.
However all of the drawings, tools and patterns had already been made for
a previous project.
-GAW-
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"...I think the portfolio represents a
tremendous value for the individual who wishes to build a model from scratch.
But I feel this document would be appreciated by a non-modeller/engineer
as well. I know this to be a fact because when I opened the portfolio in
my office every engineer in my department suddenly acted as if I was their
best friend and they spent about an hour at my desk pouring over the scale
plans.
I enjoyed your brief biography at the beginning
of the document. I must agree that I prefer the vehicle dressed in its
original black with yellow accents. It is a shame Charles Chayne painted
it white. It changes the gestalt of the entire vehicle. I am not sure of
the provenance of those hub caps but I prefer the original wheel design.
I also noticed an elephant
mascot on the restored version - did this appear
on the original?
The photos are very helpful. The epson printer
did a fine job of reproducing these images. It appears that you have been
able to go where few others may to obtain these photos - when I was at
the Henry Ford museum I could only photograph this vehicle from the front
and a partial profile of the driver's side from afar. The vehicle was roped
off and not approachable. This made me appreciate the ACD museum even more
- there I could walk up to any vehicle and photograph it from any angle
I wished.
The scale drawings stand up on their own. They
are works of art unto themselves. Combined with the photos and your books
I feel confident that I could build the chassis once I obtain some skills
in using the requisite tool set."
-Rick-
Very many thanks for your e-mail and assessment
of the Weinberger Portfolio. We are very pleased that you found what
we had hoped for and you did not think that it was overpriced having now
seen a copy. When you have been as close to this thing as long as
I have, you can convince yourself of almost anything, so you can appreciate
how relieved I was to read your review.
No the elephant mascot was never part of the
original Weinberger Bugatti Royale, as may be seen in the original photos
of the car when new.
-GAW-
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