Posts Tagged ‘Wills building materials’

Since my last post showing progress on Canute Road Quay, with respect to the concrete road area and inset trackwork along with making the grass ‘grow’  I have been busy completing the rest of the buildings and adding a mix of details.

The left hand front office building is yet to be affixed to the layout

The two main front buildings have been assembled from the excellent laser cut card components from LCut Creative these have now been initially painted and external details such as gutters and downpipes added from a mix of Peco LK-78 buifdings details pack and Wills SS46 Buildings Pack A. These buildings are not yet permanently affixed to the layout as I am still to add the internal details and also some lighting.

The main warehouse loading platform also has a representation of its underside wooden support beams. Photo taken before the gantry was fitted

I gave the LCut Creative buildings a coat of Humbrol grey acrylic primer prior to dry brush painting the brickwork using a pallet of  brick work colours from Precision Paints mixed with a little dirty black and also picked out slightly different brickwork such as the window brick arches a slightly lighter colour.

The gantry and A frame has been added to the right hand warehouse

The main warehouse loading platform has been made using Wills floorboard building sheets rather than the LCut Creative card items as I was making the platform quite long and the Wills plastic sheets are larger and stronger. This has been painted a weathered greyish brown colour.

To give access to the upper floor loading doors I have created a gantry hoist supported on the quayside by an ‘A’ Frame. The block and tackle / pulley would run on the smaller section ‘H’ girder mounted below the main cross girder, to either lift items to and from open wagons and or in theory the girder would be cantilevered over the quayside to lift items from moored vessels.

Another view of the warehouse and freelance gantry hoist

I have made this somewhat freelance design from scratch using two different sizes of brass ‘H’ section soldered together with some corner bracing details added from thin brass sheet embossed with a number of rivets.

The engine shed nestles in the roar corner of Canute Road Quay

The engine shed tucked away in the back right hand corner assembled from Skytrex Model Railways resin parts is now complete and suitably painted. The inside floor of the shed has been painted to represent a concrete floor and outside the shed a mix ash, using real ash from my wood burning stove, ballast and coal around the coaling platform, a Hornby Scaledale product,  have been glued in place using the usual method of diluted PVA glue. The water crane is a Kernow Model Centre commissioned SR style made by Bachmann Scenecraft.

USA tank No 72 crosses the quayside access road

A few people and black wing gulls have been suitably positioned around the layout from Langley Models, I have also used their etched drains and drain covers in suitable places. The SR barley twist post style gas lamps, from Gaugemaster, are yet to be wired in although the transformer, voltage regulator and input wiring is already place to do so.

The end of the right hand warehouse and loading platform

Other details items such as wooden crates, oil drums, sacks and fish crates have been added from cast plaster items from Ten Commandments suitably painted.

In my last post about Fisherton Sarum attending the Epsom and Ewell exhibition last weekend, Canute Road Quay makes its first almost public appearance this coming Sunday at an RMweb forum members event in Taunton. I would like to thank all those readers of this blog who came by Fisherton Sarum at the excellent Epsom and Ewell exhibition, it was good to speak to you all. On the whole from the layouts perspective the show went well despite a couple of electrical niggles, and I am looking forward to hopefully a good day with Canute Road Quay on Sunday.

An overall view of Canute Road Quay showing its curtrent state of progress

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As with many sheds the turntable was a vital part of the set up, engines would usually come on shed be turned, coaled and watered before moving to their allocated shed road prior to their next duty. Depending on the size of shed sometimes physically operating the turntable would have been the responsibility of the loco crew, or as in the case of Salisbury there was a dedicated gang of shed staff allocated to the role.

Fisherton Sarum by Graham Muspratt. Photographed for Model Rail, 13 February 2013

A T14 is turned at Fisherton Sarum. The turners can be seen hard at work on the winding mechanism

I have on Fisherton Sarum modelled the turners operating the turntable,  although these operators are either static or moving so quickly they only appear as a static blur (delete which ever version you don’t actually believe). The turntable itself, is as detailed in my view from line #6 post that can be read here,  made from a Peco LK-55 well and deck with scratchbuilt sides, winding mechanism and turners platform for the turners.

late afternoon sunshine catches the Turners mess hut. The warning signs to drivers on the approach roads can also be seen.

Late afternoon light catches the turners mess hut. The warning signs to drivers on the approach roads can also be seen.

I have also modelled the turners gang mess hut that was provided for them to keep warm, dry and rest between turns. At sheds like Salibury the turntable gang was often formed of staff that had previously been in other roles but ended up in such a gang due to a number of reasons such as medical or eyesight issues. Keeping a job being better than no job. I have made use of a Wills SS50 Platelayers hut kit but with the roof replaced with slate tiles rather than the supplied corrugated iron sheeting to more closely represent the one at Salisbury. Stored outside and around the turners mess hut are barrels of lubricating and steam oil.

Signs on the approach roads to the turntable warn drivers not to pass that point unless given instruction to do so by the turners. These were simply made from a short section of rail with a plasticard board and then suitably painted.

The turntable itself on Fisherton Sarum is very much one of the main focal points of the layout and as stated above it has been described in more detail in my View from the Line #6 post here.


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This I suppose only just counts as ‘A view from the line’ type post as in reality it is a guide to my method of painting brickwork that I have used on all the brick buildings seen on Fisherton Sarum. I tend to construct most of my buildings using embossed plastic, mainly Wills material packs, which have more pronounced embossing when compared to for example than the A4 embossed plasticard sheets from the likes of Slaters.  The method I am outlining below is also therefore possibly more suited to such heavier bossed materials. Although this post is primarily about brick painting the principles can also be applied to stone work (with obviously a change in the colours used).

As with any modelling technique be it loco building, tree making, weathering etc. it is always best to start by looking at the real thing and brickwork is no exception. Brick and mortar colours vary by location, age and the prevailing environment. Bricks can be a variety of yellows, oranges, reds through to blue, greys and even black. Mortar can vary from almost white, cream, grey through to almost black the latter especially in old industrial areas that have been subject to heavy atmospheric weathering, mortar and brickwork tends to stay lighter in the countryside than in an industrial / urban environment.

The end wall shows the effcet of my painting method, look closely and see individual brick colour stand out and back to see a more uniform colour

The end wall shows the effect of this painting method, click to enlarge and see individual brick colours stand out but from a smaller view to represent a distance view see the colours more uniform. Photography also changes the way the colours are viewed

The colours that we see in brick walls also vary depending on the distance that we view the wall from as colour unlike a physical item does not scale in the same way. When we look at a real wall close up we see all the variations of individual brick colours, however when viewed from a distance the colours tend merge into a smaller more uniform palette. In model form we actually need to view from a far greater representative distance to achieve the same effect therefore if each individual brick on a model is separately painted whilst this would correct in close you would have to stand back a proportionally greater distance than in real life for those colours to start merge together. The step by step guide I outline below helps to deceive the eye to overcome the effect of colour not scaling.
Note: the illustrations below were produced quickly on some spare building sheets rather than representative of greater time taken on a building itself.

Stage 1 Light mortar colour is applied and wiped off brick faces

Stage 1: Light mortar colour is applied and wiped off brick faces

Firstly, for light coloured mortar, I cover the wall in my chosen mortar colour, in this case usually Humbrol 121, and whilst still, wet wipe the paint off the brick faces.  If I was wanting a dark mortar course colour I would do this step last after the dry brushing step has fully dried, again rubbing off the excess mortar colour off the brick faces. This also has the effect of darkening / weathering the overall brick colour.

Stage 2: A variety of bricks are picked out in different colours

Stage 2: A variety of bricks are picked out in different colours

Secondly, I pick out individual bricks in a variety of colours using Precision Paints light brick red, dark brick red, blue, orange and even black and mixes of them too. These colours should reflect the colours that are found on the prototype wall that you are wishing to emulate. Different areas / ages of wall will have a different variety and range of individual brick colours.

Stage 3: Overall brick colour is dry brushed at 45 deg across the brick faces

Stage 3: Overall brick colour is dry brushed at 45 deg across the brick faces. Note: the photography this close up is quite cruel.

Lastly I dry brush a mix of the Precision Paints Light and dark brick red and Humbrol brick red at 45 degrees to the mortar course over the entire wall over the top of the previously individually painted bricks. The 45 degree angle is key as this ensures the paint is applied to the brick top surfaces and does not fill the mortar courses. You can slightly vary the mix of this to colour as you go. After this stage is dry then weathering cane be applied such as water staining, smoke staining, algae etc.

The water tower on Fisherton Sarum viewed from a greater distance showing the more uniform colour effect.

The water tower on Fisherton Sarum viewed from a greater distance showing the more uniform colour effect.

The effect of the dry brushing over the top of the entire wall is that when you view from a distance the wall colour appears almost uniform as discussed above, however as you get closer the colour of the picked out bricks shows up and provides the variety you get close up to a real wall.  If you just pick out individual bricks with differing colours over the whole wall without the top dry brush in my opinion the individual colours still stand out too much especially when viewed from a distance.

This method is a variation on that used by excellent modeller Iain Rice in his book “Modelling with Plastic Structure Kits” published by Wild Swan. Like many things with modelling, this is just one way of doing and the way I prefer to use, there are other ways and other approaches successfully used by many other modellers.



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