The Walk-Thru of the 2023 International Paper Modeler's Convention (IPMC); the 25th

[THE DC]

Some detail of this fine build is required. Along the back of this structure, a finely completed series of competing objects results in a building surrounded by crane structures and levers (see picture 1). Note the different textures; wood, metal, fibrous shingle, and more, all working with each other because the build blends them into a believable combination.

The tile roofs are so well folded and glued together, the illusion of the reality of the structure defies the absurdity of the combination (see picture 2). A lesser build and what would only work in cartoon appeared legitimate in three-dimensional reproduction.

The mobile chicken-legs are displayed in the next photo, carefully and skillfully covered in a metal-appearing leg armor (see picture 3). Take notice of the entry door to the left of the leg. A different angle illustrates how carefully even this little detail was honored by the artist (see picture 4).

This was a big build dominating the table in size, skill, and cacophony of contrasting shapes (see picture 5). There are so many conflicting structures, joined together by the creative mind of the animator, and made physical by the skill of Jack Collins.




Picture 1: Anime build wheels…

Picture 2: Anime build tower…

Picture 3: Anime build tower legs…

Picture 4: Anime Anime Howe's Moving Castle build…

Picture 5: Anime build tower entry door…

[THE DC]

After the recent pictures and descriptions, you would be forgiven for thinking that you have seen the best work Jack can do. The detail and care demonstrated to these described kits is impressive. Yet as much as you may be surprised to read this, you haven’t seen the best of Jack's work, yet. Jack’s self-picked, favorite kit, is also the one he described as his best work.

Jack chose a kit that is readily available off the web for his best work. The Russian Imperial Steam Yacht is a very detailed depiction of the Livadia; the 1880s vessel built by the Russian Romanovs to replace their previous yacht (see picture 1). The Livadia was a vessel built to replace another ship by the same name, that had sunk in 1878 off the coast of Crimea; a paddle steamer that had been converted as an auxiliary cruiser. The former paddle steamer had even been credited in sinking a vessel in the Russo-Turkish War of 1877, but became a victim of an ignominious end; a grounding in 1878. Efforts to salvage her repeatedly failed and a storm completed her destruction. Her loss prompted legendary Vice Admiral Andrev Popov of the Naval Technical Commission (MTK) to propose replacing her with a radical new design.

Popov had wished to experiment with circular designs for war vessels, a form that he proposed would decrease displacement and increase the amount or armor permitted in a single vessel under the Treaty of Paris (which stipulated naval vessel limitations of the size of the battle vessels, by a formula heavily based upon length of the vessel, in ratio to the side armor). Popov was not as concerned with the sea worthiness of the ship, as the shape. Consequently, the round hull increased drag and made the engines of the new vessel ineffective, reducing speed to a maximum of 12 knots (8 by some accounts), though the expectation had only actually been of 14-15 knots, which the builders even failed to meet. With the bottom of the hull only reaching 7 feet below the water, the flat bottom was more effective for river usage. Russia's focus upon river monitors had prompted much of this thought, at this time period.

The Livadia was launched July of 1880 to great ceremony and fanfare. Almost immediately, the crew expressed concern, as the waves breaking along her flat bottom resounded like thunder throughout the ship. Shortly after launch, the hull cracked open, flooding lower decks, requiring a race to dock to avoid sinking. Popov’s design had failed to handle the rough waters of the seas as well as a river. Since the ship’s design was so unusual, most available dry docks could not accommodate her wide frame, delaying reconstruction. A long, tense voyage to an accessible dock facilities resulted in the ship reaching safe harbor, but her future was not assured.

The flaws in her design were compounded by Imperial politics. Alexander II, whom she had been built for, was assassinated and his successor, Alexander III, struggled under the constant threat of a similar future. Terrorism was also a shadow that stalked his early reign. The new Emperor was far too distracted by bigger issues to entertain the experimental challenges of the design, and similar failures of naval legacy members. He sailed her across the Black Sea in 1881 and was very displeased with the ship’s handling and the shallow draft; noting that the crashing waves rocked the superstructure so much as to provide a perception of instability. After that voyage, plans for subsequent repairs were realigned toward a redesign to resolve some of the now obvious design flaws to the structure, and to improve performance to reach the elusive, aspirational 15 knots. After 136 speed runs, and failing to reach the desired performance, squabbling over who was at fault for the failed experiment led to accusations against Popov, the other designers, as well as against the crew’s commitment to the ship, and challenges were even leveled against the quality of the coal used (claiming that it was not pure enough to permit making the boilers hot enough to reach performance goals). The Tsar lost patience and threatened to abandon her as his royal yacht and make her a floating jail.

The Livadia fell into a bureaucratic whirlpool of undecided fates. She was relieved of her illustrious name, and christened the Opyt, and the effort to salvage the great cost of her building resulted in her role flipping from being used as a troop ship to even an ignominious floating barracks and a storage facility. She was finally struck from the Russian Navy in 1926, and records indicated she remained in existence to at least 1930. The Popov experiment had been a failure.

Though the Livadia was a questionable reality, Jack’s build was not questionable in quality (see picture 2). The large and detailed model provided skill and quality workmanship that the real vessel never achieved in performance. As it was Jack’s favorite build, we will tour the decks of the model of the Livadia…


A lesser build of this vessel, and what would only work in cartoon, appeared legitimate in three-dimensional reproduction.

Jack coached legitimacy, with his skills in building this replica, that the actual ship never achieved during her existence...




Picture 1: Livadia kit pages…

Picture 2: Alexander II 1880 Yacht, Livadia…

[THE DC]

If the R-100 kit offered examples of Jack’s ability to join rounded shapes into a seamless whole, the biplane as proof of his addition of extra, valuable details to an original model design, or the anime house an unique ability to blend contrasting shapes into a unified form, the Livadia exemplifies each of these achievements, and more. Looking at the above image of the built kit (in the last chapter), you can see the craft that made Jack’s favorite build worthy of the attention. Note the contrasting shapes, molded smoothly into the whole, the details of carefully mastered curves into seamless continuity, and we will explore his amplifications of a good model (note in the picture above, the effective use of rigging across the stacks and masts) into a better build. Jack created a wooden base to set off the appeal of the finished kit, making it mantelpiece worthy.


The bow of the ship provides amazing levels of quality craftsmanship (see picture 1). Notice the bow’s seamless join of hulls, yet the smoothness of the rounding parts to create curved that look more poured and molded, than of joined paper shapes. Empty boat davits sit askew, as though awaiting the launches to return; creating a sense of urgency, as well as realism. The previously mentioned rigging, stiffly joining mast to lower hull, contrast the heavy paper shapes with a thin, razor texture. Carefully crafted railings guide the eye up cut and down shaped stairwells. Railed gangways step across separate decks, suggesting functional form. The capstan’s sit ready for use and the cleats decorate the edges of the decks, as if in preparation of mooring lines. The ventilation tubes curve and open yaw to invite air to the lower decks, as if really operational. There are even benches crafted to sit along parts of the deck that appear functional, even if in miniature.

Since the Livadia was a massive ship, this miniature build bears remarkable care toward detail (see picture 2). The tiny benches, railings, and steps comment upon the size of the vessel in a way that would be lost were these elements not included. Examining the bow of the ship, the ventilator tubes are yellow on the outside, but red inside. More deck benches sit waiting mini-passengers. The details of the different launches are particularly noteworthy; some with boilers and small single stacks, others slatted for sailors to sit and row with manpower alone, and many with rope and tackle to permit raising and lowering of the small axillary boats, from the davits. The windowed hatch access was carefully cut and folded to appear accurately reflective of the vessel’s civilian purpose.

The stern detail provides a clear replication of the three brass props, reflecting the color of brass-appearing composition; as well, rudder detail that is unquestionable (see picture 3). The boats tied to the davits even have separate rudders along their ventral spines, as does their mother-ship. The detailed filigree across the stern, accurately shapes the hull, shading the aft royal crest. Even the flag at the stern is capably crafted of white with light blue emblemation.

Another view better displays the stern flag, appearing to fold and flap in a wind (see picture 4). The railing over an access to the lower deck is capably crafted into a black shape. Even more detail of the decking in the floor of the launches, the boilers and stacks, and the three dimensional cross planks for structural support and seating is evident. Even a life preserver hangs from the rear railing at the edge of the deck.

This other view of the stern shows even more detail of the small launches (see picture 5). Note the tillers laying at rest across the frame-benches, the fore-ports on the steam launches, and the detailed decking in the floors of the boats. This image also depicts the detail of the small benches better, as well as the tying of the rigging upon deck structures. Each little step may be gleaned through the deck access stairwells.



Picture 1: Russian Yacht bow starboard deck details…

Picture 2: Livadia starboard stern c launches and deck chairs…

Picture 3: Livadia stern detail…

Picture 4: Livadia stern c rear flag…

Picture 5: Livadia stern w rear launch…

[THE DC]

If the details of the last chapter appeared exhaustive, then prepare for more. The care and skill of each section of this ship tells a story of craftsmanship. Another side view of the round hull shows the dropping gangways to the launches; each step, and every tiny rail, realistic, in miniature (see picture 1). Transfer ladder gangways may also been seen from breaks in the side-deck railing to stair gangways, leading down to access to the launches upon their rope-davits. Red-covered benches may be glimpsed under the cover of the paneled raised decks, for passengers to take in the air without being out in the weather. These are contrasted with the black, miniature benches on top of the raised deck, as well as to the right of it. Note as well, the step-access to the raised deck, as well as another from that deck to the enclosed deck toward the center rear of the image.

Another angle of the Livadia mid-hull raised deck area, illustrates where the previously described steps access; a second enclosed story of weather-proof deck house, surrounded in windows (see picture 2). This angle also permits a better view of the gangway that joins the main, upper deck to these raised, observation decks, with handrails for safe passage in rough seas. The many upper window-trams litter the deck to permit the residents to have sky-views, when protected from weather, safely below deck. This image also allows for a great view of the inner smoke stack, with its detailed rigging, tied off at traps or cleats, along the deck floor. It is hard to imagine how each of these ventilation funnels had to be rolled and shaped to depict these structures so faithfully. It is worthy to note how the railings are sometimes black, at other times white, appropriate to the actual ship’s plan. The black gangway railing is a single straight piece, while many white deck railing are five slats, stacked above each other.

Moving a little farther astern in the angle, a deeper close-up of previously described elements (in the last chapter) can be viewed even more closely (see picture 3). Little white life-preserver rings are found scattered across the deck rails, mounted at various spots. The heavy-black gangway-access to the lower deck is more clear to examine in this image. The inner red color of the ventilation funnels may be seen at this angle too. Deck rings and cleats may be seen where the rigging is actually tied off, not just glued down as some model builders accept in their efforts. Some detail of the lower, inner deck may also be spied. Lastly, the steps of the lowering gangway, to retrieve passenger from launches, is better seen in this image close to the lower part of the hull; step-by-step. These lowered retrieval gangways suggest just how close the waterline the ship was when afloat.

Another bow view better displays the bow flag, as well as a second, higher flag, billowing in the non-existent breeze, off the fore mast (see picture 4). Note the crow’s nest on the pole afore that flagged mast. Between those two structures, a carefully crafted, forward railing is seen. And even little details that would be so easy to not include, are evident; a lone, black passenger bench, the anchor chain hanging from the bow, and a stepped stairway from the upper deck to the lower deck, detailed in structure and in red & black coloring, with an empty davit set, awaiting a returning launch. Another adjoining gangway connects the fore deck to the pilot deck, with the pilot-house just behind it.

This other view of the pilot deck permits the detail of the gangway planking, the steps leading to the observation rail above the pilot deck, and even the instrument clusters between the pilot deck housing and the forward deck railing (see picture 5). The entire assembly looks every bit traversable, were it not so tiny in size, so well crafted are each element.


Picture 1: Livadia decks and life boats…

Picture 2: Livadia funnels and upper decks…

Picture 3: Livadia deck chairs and railings…

Picture 4: Livadia bow c flag…

Picture 5: Livadia pilot deck…

[THE DC]

A couple of more bonus pictures provide a bit more close-up details (see picture 1). At this level, capturing good images was a challenge for my digital phone; something a film camera, with appropriate lens, would have made much easier (if not more time-intensive). This image of the port-stern again explores the secured launches, three in a row, with a fourth just beyond the frame. Notice the differences between these three craft; the one to the starboard with its steam engine, smokestack, and aft passenger bay, with the interior side planking visible; a yacht launch that was modern and swift for the period. The central launch appears to be a smaller dinghy, with a tiny tiller lay astride the seats, as though casually tossed there, as typical of sailing practices. The one farthest port appears a typical long, life-boat, with rows of rower seats, detailed flooring, and a possible white mast laying along the inner deck, as many of craft of that period were equipped. I did a better job focusing upon the deck in this close up, capturing Jack’s detailed, black deck benches, atop the tan, planked decking. Toward the bottom of the picture, the lowered, launch-retrieval gangway is clearer than in other images. One more significant detail, is that the ventilation funnels, tan outside and red inside, are paint-ringed in black trim.

Another bonus angle of the Livadia stern area, illustrates the detailed props, beyond their coloration (see picture 2). The detailed surface moldings are more clear upon the props themselves, dimpled, and the rudder structure is crafted dimensionally; not just a printed representation as most builders settle for.

Also, the filigree upon the supports for the brackage that the protects the royal crest are more clear in this focused image. This angle also exposes the ports on the side of the hull, conveying scale better. Even further detail of the davit ropes, mooring the launches, is visible, as well as the underside of the launch-hulls. You can see the framing and hull seams, the rudder gaps to the main hull, and teak trim along the sides of the launch, all as would actually be present.

The gold trim along the hull line of the Livadia can be seen at this angle, suggesting the intended opulence of a Tsar’s yacht. This angle also permits a clear notation of the careful crafting of the hull railing, two lines, one above and one below, with three tighter rails at the central points.

If you look closely, you can even make out the color scheme of the upper deck ceiling, as if you were walking the deck of the ship; a series of red and white stripes radiating from the inner ship to the outer ceiling.


Picture 1: Livadia rear boat c steam engine…

Picture 2: Livadia stern props & detail…

[THE DC]

He was open to sharing observations from his favorite build. He used silk to form the railings, as it was thin enough to match the scale. The kit had come with solid, paper-printed railings, but he wanted to improve upon the final look that he felt these prepared parts were not accurate to the build details. The silk he chose was 4.0 suture silk. He chose this after experimenting with the paper parts that were provided, then with bamboo that also didn’t wind up to meet his detailed eye.

The experimentation led to a method. He lay out the paper part of the railings and put a coat of Titebond Glue over the silk to give it form. After tacking it at either end, and once dry, it became bendable and held its shape. From there it took patience and consistency to achieve the indisputably, amazing result.

He also replaced the gold trim and filigree that had been printed on the side of the hull of the kit. He employed small braid cloth to fill in the dimensional quality.

To further enhance the final look, he cast the stand legs from Aluminite, in silicon molds, and painted them gold, replacing the eyes with faux jewels that he bought from Michaels.

The netting from the stern walk came from a different kit; left over material from a German Railroad. He added some left-over flooring, some chain from an anchor from another kit, and replaced the paper masts with ones that he fashioned from bamboo.

He said that the challenge of the kit was the joy. He noted that the railings were important to him, to get "just right," and he added that his attention to the cowls was also satisfying, using toothpick glue and painting the detailing with Sharpie Markers.

The build required 11 months and a lot of attention.


If he were to bring the Litavia back to the 2024 IPMC, and he’s welcomed to note here if he intends to, this one kit would be worth the trip alone.

[THE DC]

Jack shared that mastering edging is a must for a great finish on a model. Edging, you may not know, is the process of coloring the edges of the kit, as the parts are joined, to remove the white seams that will result from not attending to this step. Proper edging, he expanded requires choosing a color as close to the parts color as possible. He suggested using paint to blend the edge into the part, or a Sharpe marker. If using paint, acrylics or oil based were his preferred choices (I have found careful dry brushing of water based can work well too). Jack warns against water-based paint, as they can distort the shape of the paper if the water saturates it, as well as take too long to dry (a valid concern, though careful dry brushing is another way to avoid these pitfalls). Painting can be more controlled than markers.

Jack advised that a sharp, single edged blade is a must; or a knife of similar properties. He also suggested building a collection of many types of tweezers, clamps, and long nosed types of each; each to meet different needs during building.

Though he modified the Livadia kit, he was complimentary to the author (Oliver Weiss); a fellow who sells DVD files, or downloads, on his website. Some of his work may be examined on this forum:

Oliver Weiss Gallery - Paper Modelers Gallery

Jack is welcomed to share his links here, if he’d like. I found a copy at the Walden Model Co. page:

The Walden Model Co.

There is a Cleopatra’s Needle ship given away there, worth checking out, as well as the Litavia, which is for sale. You can see how improved Jack’s build is over the original version, on that page.

Modifying the kit was not a slap against the author; Jack said that he just saw a way to bring the author’s vision to its fullest, with greater skills than a typical builder.

[THE DC]

I mentioned before, Jack has been attending the IPMC since 2016. He brought his Litavia last year to exhibit his favorite kit, and to share his skill with those that have become his friends over the years.

Jack is a most affable fellow, full of stories, enthusiasm, and a most welcoming nature. If he’s not exchanging a wide variety of hats between conversation, he may be carrying his silver sax from room to room.

It is a must to meet him if you come in 2024. He will welcome you, as if an old friend, from the moment that you greet him first.

When I inquired what brings him back, year after year, he shared the familiar refrain that you have heard from others in this Thread; to catch up with old friends. Jack added something else, however; he looks forward to making new friends as new people attend, and he gets to meet them. For Jack, the social element is essential.

He also likes to attend the auction every Saturday evening at the close of the IPMC. Jack often is the personality that sells off the items that make money for the event, but he admits to buying more than a few for himself. Many I have spoken to, credit the selling prices going up due to Jack’s humor and personality and he is quite pleased to have become a fixture at the auction.

Jack also admitted that the three days provide him with an annual, well-received vacation from Jersey. Were I to fall back into my habit of making fun of New Jersey, I would comment that such a statement is obvious for any sane person tolerating that abattoir (it would be bad taste and an impulsive act), but I will withhold that reflex and just concentrate upon Jacks sentiments.

Welcome to any IPMC that you can attend, and he hopes to greet you in 2024.

[THE DC]

Aaron Murphy is a calm, focused man of several talents. He is an accomplished builder of kits, and most notably, a designer of kits as well. His exhibit at the 25th IPMC was of many of his own designs.

Aaron is a very patient man. The detail and effort put into his builds supports this, but his manner and ability to maintain composure, under difficult circumstances, was also made evident during my interview. Despite several occasions, when he was interrupted from answering my questions, by visitors who cut into our efforts to complete the interview. He acted smoothly and courteously, even when poor manners were imposed upon him. He also was able to return to the answer that he had been providing, transitioning as if no interruption had occurred. I respected his measured manner, even when some guests picked up his models without asking. I would have found it difficult to have such a measured response to such repeated bad manners. If you see him in 2024, please do not touch without asking first!

His exhibit of his kits included kits that he sells for very reasonable prices on his website:

Murph's Models | paper models

-as well as several freebee kits that he offers there was well. You should check out his NASA proposed warp-craft that you may download for free.

Visit his website for pictures of his models, download a few that you like, and strap yourself in for a visit of the builds that he shared at the IPMC.

[THE DC]

As a designer and builder, Aaron has a lot to share. He is skilled in both measures. Aaron had a collection of over a half dozen of his builds, clustered together on the table that he had rented for the IPMC. One thing that catches your attention right away about his exhibit, is how he put careful attention into the display of his models. Whether it was an effort to depict the build in an unusual posture, such as a plane with wings folded in storage, or depicting the build on an attractive and informative stand, Aaron attends to the details as much as the main points (see picture 1).

His logo (see picture 2) was visible near a model that he was working on at the time, a “Nightrider” series homage, including the famous car and the tractor trailer system that conveyed the star of the show, around the country on missions. A Gen A. Larson, NBC series fielded by television, that ran for four seasons, featured a wealthy crime fighter, assisted by an intelligent automobile KITT, performing superhero missions for life, liberty…well, you know…

Aaron was completing the Nightrider build, having the self-aware car KITT, slipping down the ramp of the truck-transport, and mobile base of the series platform; a missile equipped tractor-trailer named Goliath (see picture 3). The truck part was still in progress at the time of the interview. Maybe it will be done, and displayed, in a few weeks for the 26th IPMC?


Picture 1: Aaron Murphy Exhibit…

Picture 2: Murph's Models Nightrider in progress …

Picture 3: Nightrider Car and transport Tractor Trailer in progress…