"Titanic" by James Cameron. “To return to the Titanic, you need to... build it. How to make a Titanic out of paper with your own hands Other images of Titanic II prepared by Blue Star Line

The model of the Titanic liner from the Amati AM1606 kit is very interesting, detailed, with excellent drawings and two color albums, a lot of photo-etching - a theme for a modeller. And the price is absolutely ridiculous. But no matter how good the kit is, the actual model depends entirely on the quality of the modeler’s work.

I'll tell you how I did this job. Equipment and tools:

Drilling and milling machine with head BFW40/E;

Grinding TG125/E;

Drills - straight and angular;

Soldering iron 25 and 65 watts;

A skinner made from a 25 cm wooden ruler with strips of sandpaper of different grain sizes glued with double-sided tape.

Yacht varnish, I’ll talk about paints later. PVA glue from Lakra or furniture Lux, or universal Extra, epoxy (made in Dzerzhinsk - it is the best), cyanoacrylate Monolith.

All parts of the case are laser cut with very high precision, so you can’t file anything unnecessarily, just remove burrs and splinters. I placed the two halves of the keel and the trim on a flat surface and glued them together with epoxy. Then I placed the keel on the slipway (Amati) and dry checked the frames, decks and stringers. I glued everything together with PVA. The frames of the main part of the hull are centered by stringers, but there are none on the forecastle and poop, in these places the keel “walks” and if these places are not aligned before gluing the decks with the help of improvised means - guys, pins and other things, then you will end up with a lopsided model. All decks were installed with pre-glued, sanded and varnished flooring. It takes a long time to glue the 0.5/2 rail one at a time, so I glued it in bags of 7 pieces. On a strip of fiberboard covered with tape and a strip, the slats are laid face down, secured with clothespins and coated with PVA. After complete drying, coat and dry again, remove and coat dry areas. All decks should also be coated and dried. Example in the photo:

Forming packages of deck slats and sticking to the deck

Cut the pieces to the required length and smooth them with an iron (essentially weld them) or a soldering iron with a nozzle. Be sure to go through the sides of the bags with a sandpaper. Before gluing large decks, apply the markings of the pillars from the drawing on the top one, align the decks and cut grooves for the pillars in both. On the upper deck, do not glue one batten from the edge.

Cutting grooves for pillars

Before cutting paper decals from sheets, be sure to coat the front side with slightly diluted varnish (tampon), this will protect against contamination and deformation. Pasting the first skin is shown in detail in the album (the Amati company completed the set, along with the usual drawings, with a large color drawing in different projections and two albums with color photographs of the stages of construction of the model), only I sewed the bottom in a herringbone pattern.

Bottom lining

Alignment of slats

Where the lath bulged in the seams, moistened with water and smoothed it with a soldering iron. Sand the body and putty thoroughly. Coat the drawing of the strips of the second skin with varnish on the front side and cut into blocks of 2-3 pieces, these measures are against deformation when gluing to plywood. Glue the blocks with wallpaper glue.

Sticking blocks of strips to plywood

Cut it out with large tin scissors. Having laid them out into two piles, one by one, so as not to mix them up, I drilled all the holes for the portholes on the drill bit, on the back side of each strip, and in the area of ​​frame 12 I applied letter designations on the front side. After wetting it with water, I separated the paper from the plywood and sanded the sides of the strips.

Stripping strips of paper, sanding

The markings of the stripes and the sticker in the album are well shown, only in the places of the roundings the hard plywood does not fit, for this you need to cut through and smooth this area. Putty, sand, forget).

Cutting strips lengthwise

Fitting and gluing parts before gluing strips

After gluing the strips, fit the stern valance parts according to a template made of transparent plastic, then mark and insert the side stern tubes and the head of the central stern tube.

Adjusting the valance parts after gluing the strips

Deadwood installation

Just adjust the rudder blade in place and glue it in when everything is painted. Before installation, process the stern tubes with needle files and sandpapers, trim them on a grinding machine and drill 3 mm holes, preferably with a milling cutter; the drill will go into the silumin or go to the side or hit an ellipse.

It is better to use store-bought materials for priming and painting; the paints there are good and opaque, using an airbrush or a mini-spray with a 0.5 mm nozzle. My airbrush broke down at the time of painting - the nose with the nozzle fell off, there was nowhere to buy a new one and there was no money, so I had to wriggle out with spray cans. The result is not bad, but there are a lot of unnecessary problems. For example, in order to have paint for touching up with a brush, these cans had to be gutted. But all deck mechanisms and devices must be spray painted - white glossy enamel No. 201 and black. Before painting, it is advisable to warm the parts slightly in the oven. Thin layers in three layers with intermediate drying.

Painted parts

Before painting, it is necessary to process all silumin castings with files and sandpapers, trim the seats, and straighten the air intakes with cutters. Everything on my deck is pressed onto pins, without glue, so I need to use 1 and 0.7 mm drills to drill holes for them in the parts.

Preparing for painting

Under the pulleys on the crane masts, I cut grooves with a 1 mm cutter, the pulleys are rings made of 0.7 wire, then glue a thread (cable) to them and glue them into the groove.

Pulleys for crane masts and a block for a crane beam

Solder the crane arms with a 25 W soldering iron, the tip of which is cut off more hollowly and made sharp. Immediately solder the 0.5 mm pins, be sure to use tweezers, so that what is already soldered does not unsolder. Solder - radio mounting tin, cut into pieces, each for only one soldering. Flux – zinc etched HCl.

Crane assembly

Insert the arrows into the 0.5 mm holes drilled at the bottom of the mast and give the desired angle. Make a groove under the working platform with a diamond disc, bend the platform itself, solder the rail, and glue it with instant glue. Place the arrows on epoxy and paint everything.

Painting of taps

I attached the steam pipes to large chimneys with 0.5 mm pins, the condensate pipes with PVA, and secured the typhon pipes in brackets that I bent from photo-etch scraps and soldered to the “legs” of the ladders, each to only one, so that the other end had a small stroke. The “legs” themselves were secured with blackened 0.5 nails. It is difficult to drill a 0.5 hole in a strip 0.8 mm wide even on a machine, I advise another method - place the strip on a surface made of soft metal - aluminum, lead, pierce the desired place with an awl, turn the strip over and pierce it again, and so on until until the nail goes through. The eyelets absolutely all need to be reduced in diameter - cut off 0.5-0.7 mm at the lock and folded again. Place the eyes on epoxy, which is inserted into the holes with a sewing needle in two steps so that the first drop is absorbed. Pipes with all installed equipment are cut on a grinding machine at the required angle, set on the protractor of the machine.

Chimney assembly

To mark the eyelets on the deck, cut out a colored plan from a sheet of paper, place it on the deck, and prick it with an awl. Mark the forecastle, poop, and quarterdeck in the same way, but it is advisable to cut them off from the plan separately. All equipment and add-ons should be marked like this. Superstructures must be installed fully assembled, including handrails. Without cutting out the sheets, clean the railings with sandpaper 800 or finer, degrease and paint on both sides with auto enamel No. 201 (sold in any auto parts store); after drying, do not cut everything out at once, only as needed. Remove paint from the area that will be glued, coat it with PVA, and dry. Do the same with the place where the handrail will be glued. Lubricate the dried adhesive strip on the railing with a thin layer of PVA and immediately press lightly in place, leave to dry for 30 minutes. Where the rails meet the stock, cut it off with high-precision photo-etching nippers, and insert a drop of PVA into the joints.

Railings on deck

Without painting, cut out the railings of the nose from the sheet with the tip of a knife, fit the strips with portholes in place and secure them temporarily with 4-5 rivets each. Mark the location of the rails on them. Remove everything and solder the seam from the inside of the rail to the strips. Put everything back in place, solder the strips together, remove, clean, paint. While painting one side, cover the other with a sheet of paper so that drops do not hang on it. If there is a need to wash off the stained paint, this can be done with any nitrate solvent, just moisten it with a brush several times and brush it off. Mount the finished railing on the body using porthole rivets, without glue.

Cameron continued to persuade Fox to finance the film and drew up estimates for the construction of a huge replica of Titanic. According to his calculations, filming the film should have cost seventy-five million dollars. But even with the initial budget reduced, it seemed to officials from Fox that they could not do without a partner, and then Paramount joined the project, agreeing to share the costs on the condition that it would become the main distributor of the film in North America. Cameron's last film, True Lies (1994), cost a whopping $100 million, and although it grossed three times that amount, studio executives were skeptical that a shipwreck film could replicate that success. Paramount agreed to provide sixty-five million, with Fox paying the rest.

Cameron eventually convinced the two studios that building a seven-hundred-seventy-foot model of the Titanic—nearly ninety percent of its actual size—would help save on special effects costs. To do this, it was necessary to build the largest water reservoir ever built by human hands: it had to hold about seventeen million gallons of water.

The problems were growing global, and despite the fact that the filming itself was very far away. The filming was preceded by a lot of preparatory work. I had to read a ton of archival documents, Cameron watched the 15 best documentaries about the ship. And finally, it's time to get started.

The scene of the dive to the wreckage of the Titanic included in the film is a combination of filming of a scale model and the real Titanic resting at the bottom of the sea. Of course, the shooting of the model had to look perfect - after all, in the film they were edited with real shooting. And they really cannot be distinguished from each other. Once again, James used the services of the Skotak brothers, who worked with him on “Terminators” and “Aliens.” These masters again proved themselves to be true professionals, creating a considerable part of the special effects for Cameron's new film.

Their first task was to make a large model of the destroyed ship, which was used to simulate deep-sea filming. This model was four times larger than what Cameron took with him on the Keldysh. Special filters were put on the lenses, and the room was filled with smoke, simulating the thickness of the water - as a result, the wreckage of the ship in the frame looked as if it were the real remains of the Titanic, resting on the ocean floor.

An interesting detail: a large model of the sunken Titanic was turned upside down, fixed to the ceiling, and removed from below. Why was this done? It’s very simple: it turned out to be much easier to arrange lighting fixtures and a camera crane, and generally control the process.

Composite camera operator Eric Nash stands under a 1/20th-size model of a wrecked ship. The model mounted on the ceiling turned out to be more accessible for auxiliary workers, allowing one to do without bulky lifting equipment.

We also had to decide in which waters to shoot the film - I wanted to have beautiful natural light. At first we thought about the northern latitudes, when there are white nights there. Sweden and Poland were discussed. Negotiations were held in Gdansk, since it was possible to build a ship there very cheaply, and the necessary props were easily delivered from Europe. In addition, there were wonderful European extras everywhere.
The next thing discussed was the sinking of the ship. Cameron insisted that these scenes could not be filmed only on models. He wanted to be able to submerge a ship, or at least a life-size part of it, with actors and stuntmen on board. To do this, the decorations built on board the tanker had to be dismantled and moved to where such a dive would be possible. The world's largest reservoir in Malta, proposed for this purpose, was rejected because it could not accommodate the decoration that was going to be built.

They looked for a place to film the flooding everywhere where there were huge structures. What gave rise to the final solution were Digital Domain's early experiments with computer water. It looked so good that the question arose: is it even worth filming in the open ocean? If you build a ship on land next to water so that there is a horizon of water behind it, you can film on board without having to actually sail, since the only evidence that the ship is floating can only be obtained by looking down.

Those shots where it was necessary to see the movement of water could be done on a computer. This idea was proposed to Cameron by producer Landau, and Cameron immediately picked it up. There was no doubt that a land-based setting with an adjacent body of water would give him enormous opportunities without all the inconveniences associated with being in the open ocean.

After all the discussions and disputes, it was decided that the most successful and economical option would be to build a studio and a pond, as they say, from scratch. Landau admitted that it was possible to adapt the reservoir in Malta, but this meant for the Fox studio that it would invest money in someone else's infrastructure and leave everything built and created after filming.

Therefore, it was proposed to find a place near the ocean in Mexico where it would be possible to build a pond and a studio - inexpensively, at least by American standards. In a situation where everything was in one place, it was possible to move from the ship set to the pavilions, from the closed set to the open air, depending on the weather.

Undoubtedly, building a new studio meant a much larger investment, but the presence of such a studio, where any film could be made afterwards, especially with water, gave the Fox studio a permanent active base. The search began for a place to build such a studio.

Such a place has been found. 20th Century Fox purchased 40 acres of land on the south coast of Rosarito in Baja California, Mexico, and began building the first film studio on the West Coast in thirty years. The hurricane, which struck in early June 1996, carried away tons of volcanic rock prepared for the construction of the main reservoirs. Work at Fox Studio Bach, nicknamed the 100 Day Studio, began on May 31, 1996 - the exact day, only 85 years ago, that the hull of the real Titanic was delivered to Belfast and placed at the Harland and Wolf shipyard.

They began to build a real city with all the infrastructure and the largest water reservoir in the world (68,000 liters of water). The layout was equal to a 75-story building horizontally. It was necessary to build the ship in such a way that you would not point fingers later, pointing out mistakes.

The director of photography arrived at the studio Russell Carpenter, who worked with Cameron on True Lies and the Terminator 2-3D attraction. When Carpenter arrived in Rosarito, he was completely shocked by the scale of construction of this studio city. Hollywood has never seen anything like this before.

A 17-million-gallon tank was created, providing a 270° view of the open ocean and capable of containing almost life-size ship decorations (the so-called “Pavilion No. 1”). There is also a smaller tank, 5 million gallons, for interiors (“Pavilion No. 2”). Add here 2 sinkholes with waterproofing (“Pavilion No. 3 and No. 4”), one that allows water to pass through and is equipped with a drying system, as well as auxiliary equipment sufficient for the life of a small town. However, there were 4 months left before filming began. And Cameron said at the studio's opening ceremony: "There is nothing more scary and invigorating than ironclad deadlines."

The tanks located along the coastline were positioned in such a way as not to disturb the illusion of the horizon, against which the ship supposedly moves in scenes filmed in daylight.

In order to save some resources and time, graphic designer Peter Lamont proposed to slightly reduce the ship - by 10%. And he successfully defended his position. His idea was not to make it smaller overall, but to take out layers of it along the length in places where it would not be very noticeable. Thus, the ship was reduced to 90% and nevertheless retained all the details in 100% performance. However, it was necessary to proportionally reduce the mast by the same 10%. The rescue boats also had to be reduced in size - otherwise they would no longer fit.

Even without the unbuilt bow and everything else reduced by 10%, the Titanic occupied the area of ​​two football fields. To reduce the incredible physical strain of first tilting and then sinking the ship, it was decided to make the set of two sections connected between the second and third pipes. Each section had its own steel structure inside, designed by Tommy Fisher under the strict guidance of the art department.

The decoration of the ship was a 2-tier platform (with metal plating of the first and boat decks, descending below the waterline), iron supports supporting the structure made it possible to change the angle of the ship.

300 and a half million pounds of metal, 30,000 rivets, 15,000 sheets of plywood and several tons of paint are just crumbs of the estimate that construction manager Les Collins was able to reproduce from memory. Some of the metal went into the beams that support the ship's decoration at 45 feet above the waterline (and 90 above the deepest part of the tank); as needed, these beams raised the building upward with the help of hydraulic jacks, and new fastening structures were welded to the bottom. (And then, creating an angle of 6°, they began to lower the bow of the ship and raise the stern.) To avoid the risk of making the slightest mistake, under the leadership of graphic designer Peter Lamont and Tommy Fisher, who headed the special effects team, welders and ship carpenters worked, accustomed to building scenery, but real submarines.

Massive parts of the deck were mounted on the ground, and after that they called in the help of a company engaged in moving bulky objects - Almas Entertainment - which, using hydraulic jacks, raised the mounted parts to a height of 12 meters and secured them to steel structures screwed to this by Fisher's team. After this, finishing work began. The most important thing at this stage was, undoubtedly, the lining of the side - from the promenade to the water, but only on one side. It was decided to add the side facing the ocean on the computer, using the image of the second side. For this purpose, all the inscriptions on board were made, including in a mirror image, and were replaced during filming as necessary. The board was made of high quality plywood - textured and with added bolts.

Portholes and windows are made of plexiglass. When the set was finished and painted, Lamont was forced to admit that it looked unnatural - like a huge model. After something 213 meters long was built, I wanted to expect a different result.

Many photographs of the interiors of the Titanic and its brother Olympic, which sailed for 25 years and was much more photographed, were scanned. The photographs were colored on a computer and enlarged to proportions that allowed them to be used as backdrops. Inserted into the windows and illuminated, they “revitalized” the decoration.

There were many cranes of all sizes and configurations on the site, but there was one 50-meter tower crane, which ultimately received a permanent registration from the director. Such a crane proved its indispensability on the set of True Lies, and for the Titanic shots there was no better option. All this was done in order to reduce overhead costs.

Simultaneously with the construction of massive sets and a water tank, they began filming scenes taking place in our time; Film veteran Gloria Stewart plays Rose as an old woman, recalling the dramatic events on the ship.

This footage was filmed in Halifax, on the research vessel Akademik Mstislav Keldysh - the same one from which Cameron dived for underwater filming a year ago. Fifty members of the film crew traveled to Nova Scotia.

Filming the dive to the Titanic

Film crew on "Keldysh"

Freshly tattooed Bill Paxton (Brock Lovett) and Nicholas Cascone (Bobby Buell) in the middle of a day of filming on Keldysh

Filming of the “safe” being lifted.
James Cameron says: “On each dive, the sonar detected a rectangular object that looked like a safe. We never had time to figure out what it really was.”
These shots are an imitation. Cameron did not recover anything from the shipwreck.

This trip was supposed to be a short stop before the start of principal photography, but on August 9, 1996, three weeks into the project, several people suddenly became very ill just after lunch break, and the nightmare began.

Actor Lewis Abernathy, who played the cynical assistant to a treasure hunter played by Bill Paxton, recalls:

“People were rolling on the floor, completely out of control. Some claimed that they began to hallucinate and colored stripes swam before their eyes. “I decided it was food poisoning,” he continued (fortunately, he himself did not have lunch at the hotel that day). – Spoiled seafood can easily cause hallucinations, and, as we later learned, there were many complaints about our food supplier. Jim was loaded into the van - he looked terrible, just terrible. One of his eyes was all red, like the Terminator's - no pupil, no iris, just beet red. Another looked like he'd been sniffing glue since he was four years old."

Tests confirmed that the director and crew were poisoned by lobster soup, which contained traces of phenylcyclidine, a hallucinogenic drug also known as angel dust. Although several dozen people were taken to the hospital, many returned to filming the very next day. It was rumored that this was the revenge of one of the film crew members against Cameron, known for his despoticism. The culprit was never found, and the true cause of the poisoning was not established. However, this incident became a harbinger of many problems that beset the participants in the filming at every turn. In early August, with the completion of scenes on the Keldysh and in the hangar, as well as several scenes in the house of the aged Rose, filming of the modern scenes was completed.

As the ship was built in Mexico, details were worked out in Los Angeles. Digital Domain's 1/20th-size model of the intact ship measures 45 feet in length. It is fully furnished; at night, in the light of the lamps, even the curtains on the windows are visible. Looking at the model in dry dock, one never ceases to be amazed at how small the propeller is on the scale of the entire vessel. Cameron was convinced that when the "full astern" order was executed in the engine room, it reduced the ship's maneuverability, as a result of which it was unable to avoid a collision. “You just had to deviate 10-15 feet to get around the iceberg,” the director believed.

The photo shows modeling design bureau foreman Gene Rizzardi checking the light-description copies (the original "blues" provided by Harland and Wolf for the film - approx.) as workers place tiny copper nails that imitate rivets on the ship's hull . Millionaire Howard Hughes also used the services of Digital Domain workshops during the construction of the Spruce Goose, another famous giant that only once took to the air. (the role of Howard Hughes would later be played by Leonardo DiCaprio in the film “The Aviator” - approx.):

From the memoirs of Evan Jacobs (head of the Vision Crew Unlimited studio, which worked on special effects in Titanic):

“Along with my guys at Vision Crew Unlimited, Doug Miller and John Warren, we were originally assigned to work on a 44-foot Titanic miniature (1/20 model) from Digital Domain. Gene Rizzardi and George Stevens commanded the parade there. The guys were having trouble hiring really good people, there weren't enough of them for such a large volume of work and tight deadlines, and we joined them to help. Well, after some time we were transferred to another area of ​​​​work - filming the engine room and a number of technical details, which were carried out under the leadership of Steve Quayle.

Details, details... that's what we did for Titanic.
Historical accuracy was very important, but it was quite difficult to recreate it, since we had very few photographs at our disposal in which we could see such “details”. In many cases, it was necessary to rely on photographs of the sister ships of the Titanic - Olympic and Britannic. Of course, Ken Marshall, a historian and artist of the “legendary liner,” served as a great source of knowledge for us. Attention to detail usually arose from discussions - we could discuss such subtleties as “how many rivets should be on the ventilation system”, and even down to “the exact pattern of the bolt on the gate for the crane beam”. All this was really very exciting - in the process of our work we recreated the entire Titanic museum in miniature. Most of our "details" were directly used in the film constantly. These include, for example, lifeboats, recreated in great detail from the original drawings (despite the fact that most of them were covered with tarpaulin in the film), rotating cranes, mobile davits and even portholes, some of which could be open in the frame. I remember that making the davits (which lowered the boats) was particularly difficult. There were, for example, concerns that due to the rather heavy models of the boats, which were to be in the frame for quite a long time during the entire descent, the beams would bend, and this would be noticeable in bright lighting. That's why we cast them in bronze. But since the davits were of complex, intricate shapes, we had to cast different parts of them separately. It was a whole art."

Filming began on September 16, 1996. The initial budget was an impressive $110 million at the time.

And this was just the beginning... The beginning of the filming “attraction”, which .

Paper is an excellent material for design. You can make anything from it: flat figures, origami-style toys, or complex three-dimensional models. One of the most popular topics for creativity is scaled-down ship prototypes. People collect such models ranging in size from 15-20 cm, placing them in a bottle or simply decorating the interior with such a “toy”.

One of the popular ones is the Titanic. How to make the Titanic out of paper at home? You need to be patient, learn and work daily to create it. This is how stunning models of the iconic liner are born.

What is the Titanic made of?

To answer the question of how to make the Titanic out of paper, you need to understand its structure. What did the iconic liner consist of?

• Decks. There were 8 of them. 7 was intended for the guests of the ship, the 8th was reserved for storing boats in case of a crash.
• Bulkheads. The Titanic was broken into 16 pieces. They started from the bow of the ship and ended in the area of ​​the 5th deck.
• Bottom. The bottom of the famous liner was double, which made it possible to hide the entire mechanism that kept the huge dimensions of the ship afloat.
• Pipes. There were a total of 7 pipes on board the ship. They were inclined to the side by 9.5 degrees.
• Masts. There were only 2 masts on the liner. One on the forecastle, the second in the stern.

Creating a flat Titanic with children

When figuring out how to make the Titanic out of paper, parents often turn to the Internet. However, there is nothing complicated about it. In fact, the answer to the question of how to make the Titanic out of paper with your own hands can be suggested by your imagination. There is nothing complicated here.

• You need to cut out two identical black rectangles - this will be the bottom of the ship. Then they need to be rounded at the bow.
• The next step is to cut out two white rectangles, smaller in length. These are the decks of a ship. Using a pencil or felt-tip pen, draw a rectangle into 8 parts and draw windows in each of them.
• The next step is making pipes. To do this, you need to cut out 4 yellow rectangles. Paint the top of these rectangles black.
• Two thin black stripes are future masts.
• The last step is to glue all the blanks.

Three-dimensional model of the Titanic

How to make the Titanic out of paper so that it looks like the original? This is a difficult task. This will take at least six months. You need to download the liner drawings and, based on them, on a reduced scale, make paper patterns. For this purpose, it is better to use thick art paper or ordinary Whatman paper.

Particular attention should be paid to the internal structure. Of course, there is no need to repeat it completely, but if you do not take into account the load-bearing parts, the ship will not hold its shape. To make the task easier, you can buy ready-made Titanic paper blanks. Even a child will be able to assemble such a “constructor”.

Drawings of the Titanic, a steamship of the British shipbuilding company White Star Line. Construction of a large ship took more than two years. About 3,000 people worked at the shipyard. In May one thousand nine hundred and eleven, the ship was launched into the water in a solemn ceremony. During its voyage, namely in April one thousand nine hundred and twelve, the liner encountered a large iceberg. Exactly 160 minutes later the ship sank under water. There were two thousand two hundred and twenty-four people on board at the time. One thousand three hundred sixteen people are passengers and nine hundred eight people are crew. We were able to save seven hundred and eleven people. The rest - one thousand five hundred and thirteen - drowned.

Specifications:
1. length, 26898cm;
2. width, 2820cm;
3. distance to the boat deck, 1840cm;

4. height, 5330cm;
5. displacement, 52310000kg;
6. draft, 1054 cm;
7. full load, 66000000kg;
8. engine (four-cylinder steam engine) – 2 pcs.;
9. engine – 55000hp;
10. rotation of screws (75 rpm) – 3 pcs;
11. speed – 25kt;
12. coal consumption – 825000 kg/day;
13. capacity, people – 2224 (1316 passengers, 908 crew);
14. boats (capacity 59 people) – 20 pcs.;

There is no person who does not know the history of the British transatlantic steamship Titanic. The ship was the greatness of engineering of those years. He combined the luxury of first class with the accessibility of third class passengers. But the tragedy that occurred left us only history.

The prefabricated model of the Titanic ship is produced by many companies:

Domestic: Star, Modelist

Foreign ones: Academy, Revell, Hobby Boss and others less known among us: Anmark, Entex Industries, Minicraft Model Kits, JSC, HP-Models, Zhengdefu.

You can assemble a scale model of the Titanic ship in different scales:

1:1200; 1:700; 1:600; 1:570; 1:400; 1:350.

And a huge number of different add-ons for these models.

As it turns out, the selection of prefabricated Titanic models is extensive. So choose according to your liking or wallet. The price for a assembled Titanic model varies; the larger the model, the higher the price. There are also premium and limited edition sets.

A prefabricated Titanic model can be purchased at or at.

Below are some of the most popular boxes that can be purchased in Russia. Initially, I wanted to give all the options, but there turned out to be a lot of them.

Scale 1:1200

1. Revell 1/1200 RMS Titanic Plastic Model Kit 80-5804

Difficulty level: 3

Scale: 1:1200

Scale 1:700

1. Star 1/700 Passenger liner “Titanic” 9036

2. Revell 1/700 R.M.S. Titanic Plastic Model Kit 80-5210

Difficulty level: 3

Scale: 1:700

Length: 385 mm

Details: 132

Modeler 1:700 Titanic liner

Star 1:700 Passenger liner Titanic

Preliminary cost: 1400 rubles

Scale 1:570

Revell 1/570 RMS Titanic Plastic Model Kit 85-0445

Difficulty level: 2

Scale: 1/570

Length: 18-1/2"

Scale 1:400

ACADEMY 1/400 The White Star Liner TITANIC

A few more options in 1:400 scale. Articles: 1458, 14202, 14215