The Flickr Rexstewartoriginals Image Generatr

Every artist has their way of bringing about a technique that is solely theirs. For me , it's always been to have my colors in the custom arena, including finishes.

On the side of the hull I place a light stain to test its application before using it multiple times for varied shades. Highlighting should also be subtle with a 'hit and miss' approach; but that takes patience and practice.

Working in miniature is a challenging process, especially where accuracy is involved. Here, a Preiser figurine is used to achieve this.

The woman stands 4.5 feet and the top of the belfry is 7 feet. Across, from end to end at the base is five feet to lead a pass through of the mainstay system to the bowsprit.

Plastic was the core of my early build where I only provided cloth sails to the Airfix kit(s) of those times. However, as I advanced in the profession as both artist and craftsman, I learned various techniques and applications for what is seen today as innovation.

Here, I only keep the plastic tops and substitute all else with wood; including the yards.

One of the most exciting phases of model making is to mark areas where deck furniture will be. Sometimes the anticipation tempts one to rush; but it's important to just take it (the steps) slow..so to get it right the first time.

All my templates are made with tracing paper and covered with transparent tape to allow flexibility to re-cut or reshape objects before actually securing them to the deck. And usually with a prototype such as this, corrections are commonplace.

American steamboats were unique and appealing due to its tie-rod and hogframe systems...along with the kingposts.

These structures strengthened the vessel and prevented it from damage amidship where the heavy paddlewheels, walking beam engine and large boilers where.

Since no plans are available on these 19th century boats, what photos are available I use to calculate the proper location of these fixtures. Here, I'm hammering in a pin hole that will take in one of the rod cables.

Not many models show this particular feature which I humbly feel should be one of the main focal points of a New England steamboat; especially those that operated in the region of Cape Cod.

These forward companionways were essential for passengers/crew who wanted to have accessibility to the upper deck.

After partially finishing the paddlebox covers, I experimented with the colorscheme of the boxes and decking to find hues that would match the density of the reference photos which showed her as she appeared in the winter of 1894.

Of course the colors are speculative and have been used -based on the paintings of those artists who lived in that period who were commissioned to paint those vessels.

To search for a good ISLAND HOME steamboat model on the internet (or a maritime gallery) is somewhat impossible to find. Which is why I finally went to work on this by way of a commission.

Nearly 40 years ago collectors were racing to have this model; but my schedule was filled with other steamboat commitments that a true model of her remained dormant until now.

In this image I show the beginning process of the build.

Walking beam type steamboats are not easy to configure because designers of those times made each vessel distinctive and apart from the other. This, in part, made it easy for commuters (and captains) to identify vessels from a distance...whether in travel and/or rescue.

My builds have been accurate because of the proper configurations. Such is very consuming in time but well worth the effort to achieve a worthy model -both in color and concept.

To date, many of my recent models feature this detail; in part, because I have the sliding doors in open position. This feature is usually carried on the main stern decks.

The patterns that I use are from vintage photos of the period when elegance was a factor in steamboating design...which included the flooring.

All my models are scaled pieces, except for those that I've restored. Some have been to scale, but many have been otherwise. However, it doesn't take away from the beauty of the piece and my restorations have proven this time and time again.

I enjoy scale models because one is forced to keep everything in sync and aligned. For that, I create scale figures as shown here.

This is used for proper height of the steamboat rail and cabin arrangements -including the door systems.

The woods that I use are ideal for this.

Many of my contemporary ship models are solid hull pieces that are chiseled. I prefer this method over plank on frame because it tests my level of ability to accurately conform the lines.

There's little room for error...which is gratifying in the long run.

This is probably one of the most intricate part of the build...the alignment of the paddles and spokes.

There is no 'easy way' to mastering a skill; nor are there any 'shortcuts'. Quality; real quality, takes invested time.

My proof is the longevity of my models which has lasted for nearly a half century. The woods that I trust for my builds are pine, bass, and birch. All have tested the element of time...regardless of climate.

This is the photo image that I used for the build and colorscheme of the cape Cod steamboat ISLAND HOME.

She was considered to be one of the most beautiful island steamers when delivered to Martha's Vineyard in 1855. She was a freight/passenger steamer that serviced the region and out performed gales and winter freeze-ups. She also served as a rescue and towboat when other vessels were in crisis.

Only two captains manned her during her 40 year career.

Every artist/builder have a certain method of scaling their work(s). All start from a basic system and apply their technique(s) to that system to make their design/presentation a 'one of a kind'.

With the steamboat model, collectors (and viewers) know my work because of how i scale it. I like odd scales (most of the time) because it's difficult to copy my details.