Make buildings Add details and scenery

SPECIAL ISSUE for a small town p. 14 to a freight yard p. 80

SCENERY &
STRUCTURE
PROJECTS FOR TRAIN LAYOUTS Make realistic
WINTER 2017 trees, p. 60

18 projects to make your

layout more realistic!
From the pages of Model Railroader magazine

Learn how to get big

scenic impact from
buildings only a few
inches deep. p. 24
Fit a big industry into a small space p. 24
How to paint and detail figures p. 56
Use static grass along your right-of-way p. 42
AND MUCH MORE!
 NEW BOOK
FROM
Model Railro
ader !

Express, Mail & Merchandise Service is a prototype guide that describes

rail express service and merchandise traffic on railroads from the early
1900s through 1960s when railroad personnel handled packages and
merchandise — everything from baby chicks and cornflakes to money and
machinery — and delivered them to their final destination. A wonderful
historical reference that will inspire modelers and railfans alike.
This book covers:
• Ideas for modeling layouts, whether large or small.
• Depots, freight houses, and terminals.
• Dedicated trains, special cars, and delivery vehicles.
• Train operation and car movement. #12802 • $21.99
• And much more!

Buy now from your local hobby shop!

Shop at KalmbachHobbyStore.com
P29025

Sales tax where applicable.

 SCENERY &
STRUCTURE
PROJECTS FOR TRAIN LAYOUTS
4 BRING YOUR LAYOUT TO LIFE 45 THREE CLEVER IDEAS FOR DETAILING
Introduction/by Hal Miller STRUCTURE MODELS
Digital photographs, cement, and metal parts
5 STYRENE STRUCTURES IN 7 SIMPLE STEPS provide many useful textures/by Lance Mindheim
This versatile material lets you model buildings of
any size, shape, or scale/by Paul J. Dolkos 51 HOW TO MODEL STREETS AND HIGHWAYS
Add realism to your layout by giving the vehicles on
11 BASIC SCENERY TECHNIQUES it some accurate roads/by Pelle Søeborg
Take your layout from a blank canvas to a detailed
scene with these ideas/by Cody Grivno 56 FIGURE PAINTING 101
How to prepare and paint plastic and metal figure
14 SMALL-TOWN STRUCTURES castings for model railroads/by David Popp
WITH BIG-TIME APPEAL
Tips and techniques for adding charm and charac- 60 MAKING REALISTIC SUMMER TREES
ter to a downtown district/by Gerry Leone Do-it-yourself tree kits enhance this junction scene
/by Carl Swanson
20 17 TIPS TO CREATE AUTHENTIC SCENES
Use details selectively for more realism 63 SCRATCHBUILD AN ABANDONED BARN
/by Pelle Søeborg Weathered stripwood and peeling paint give a
building history/by Horst Meier
24 BUILD A BIG INDUSTRY IN A SMALL SPACE
Rearranging the parts from a kit helped it fit the 66 HOW TO BUILD A DEEP ROCKY RAVINE
space/by Cody Grivno An impressive scenic feature greets visitors
/by David Oxnard
28 BUILD AN N SCALE DIORAMA
This scene is designed to be dropped into a new or 72 HOW TO BUILD A LASER-CUT
existing layout/by Steven Otte WOOD STRUCTURE
12 simple steps to construct an authentic HO scale
31 SIGNS ALONG THE LINE interlocking tower/by John Pryke
Essential to prototype railroad operations, trackside
signs add realism/by Jeff Wilson 76 HOW TO UPGRADE A BASIC
PLASTIC COAL TOWER KIT
36 MAKING REALISTIC-LOOKING BUILDINGS A few easy steps spruce up this common steam-era
FROM PHOTOS AND PLASTIC structure/by Cody Grivno
Print photos and styrene trim combine to form
credible foreground structures/by Paul J. Dolkos 80 DETAILS TO MAKE YOUR
RAIL YARD REALISTIC
42 MODEL REALISTIC TALL GRASS Vegetation, spilled loads, roads, and industrial
Using multiple scenery techniques to make con- debris add texture and interest/by Horst Meier
vincing fields and prairies/by Peter Ross

ON THE COVER: If you’re looking for big scenic impact but don’t have much room, you can rearrange the parts of a
large industry kit to make it fit your space. See page 24. Photo by Bill Zuback

5 31 51

www.ModelRailroader.com 3
BRINGING LIFE
TO YOUR LAYOUT
I’M SURE it will come as no surprise to roads starts to tie the transportation net- his special publication isn’t just for
you that many of the questions we get work together. And nothing brings the beginner. While we bring you the
from Model Railroader readers are about things to life like small igures going basics, we also provide advice on how to
scenery and structures. Ater all, both about the various tasks of the day. it industries into small spaces, and what
are key components of bringing a model Really, scenery and structures go signs to put along the railroad right-of-
railroad to life. hand-in-hand. A street or a road is scen- way, and how to make roads look proto-
Without them, all you have is a piece ery. But if you think about it, it’s also a typical – issues that confront model rail-
of plywood, track, and trains. For some structure. Likewise, a simple lineside roaders of all experience levels.
people, that’s plenty. A rich imagination shed is a structure. But it also gives the So if you’re ready to get of the “Ply-
ills in everything else. But for others, eye something to see, so it’s scenery, too. wood Plains” and bring your vision of
those basic building blocks are only the While it does involve some work, fre- your railroad to life, read on. here’s
beginning of an empire. quently simpler is better. Sometimes just plenty here that can bring life to your
By adding some grass and trees to adding some details to the scenery you railroad, no matter what size.
your layout, you start to create a sense of already have can help focus attention on
time and place. Adding a building or certain spots, helping create scenes that
two – or 17 –gives your trains a reason to carry the viewer through your layout as
run and customers to serve. Adding they run trains.

FOR MORE Founder

Editor
A.C. Kalmbach 1910-1981
Hal Miller
Advertising
Advertising inquiries: 888-558-1544, ex. 643

INFORMATION Art Director

Editorial Staff
Thomas G. Danneman
Neil Besougloff
Advertising e-mail: [email protected]

Cody Grivno Selling Model Railroader

LOOKING FOR MORE TIPS & TRICKS? Dana Kawala magazine or products in your store:
Steven Otte Phone: 800-558-1544
Visit the Kalmbach Hobby Store, Eric White Outside U.S. and Canada: 262-796-8776, ex. 818
www.kalmbachhobbystore.com. Graphic Designers Drew Halverson E-mail: [email protected]
PDF packages are available for down- Scott Krall Website: www.Retailers.Kalmbach.com
load, including Building scenery and Illustrators Rick Johnson
Great structure projects & techniques. Roen Kelly Customer Sales and Service
Kellie Jaeger Phone: 800-533-6644
Also available is Jef Wilson’s book,
Photography Supervisor William Zuback (Weekdays 8:30 a.m. to 4:30 p.m. CT)
Easy model railroad scenery projects. Production Coordinator Cindy Barder Outside U.S. and Canada: 813-910-3616, ex. 421
Fax: 262-798-6592
Kalmbach Publishing Co. E-mail: [email protected]
Senior VP, Sales & Marketing Daniel R. Lance
HOW TO MODEL TODAY’S RAILROADS (ISBN
VP, Content/Editorial Director Stephen C. George
978-1-62700-310-0) is published by Kalmbach
VP, Consumer Marketing Nicole McGuire
Publishing Co., 21027 Crossroads Circle, P.O. Box
Advertising Director Scott Bong 1612, Waukesha, WI 53187-1612. Single copy price:
Corporate Art Director Maureen M. Schimmel $8.99 U.S. and International, $9.99 Canadian, payable
Art and Production Manager Michael Soliday in U.S. funds drawn on a U.S. bank. (Canadian price
Group Advertising Manager Scott Redmond includes GST.) BN 12271 3209 RT. Expedited delivery
available for additional $2.50 domestic and Canadian,
Advertising Sales Manager Paul Steinhafel
$6 foreign.
Advertising Sales Representative Martha Stanczak ©2016, Kalmbach Publishing Co. Title registered as
Advertising Services Representative Daryl Pagel trademark. All rights reserved. Printed in U.S.A.
Group Circulation Manager Catherine Daniels
Single Copy Specialist Kim Redmond
Editorial offices
Phone: 262-796-8776
Fax: 262-796-1142
E-mail: [email protected]
Website www.ModelRailroader.com

4 SCENERY & STRUCTURE PROJECTS

STYRENE
STRUCTURES
IN 7 SIMPLE STEPS

This versatile
plastic material
lets you easily model
buildings of any size,
shape, or scale
BY PAUL J. DOLKOS • PHOTOS BY THE AUTHOR
Paul used the same process to build each unique structure in
this scene on his HO scale Baltimore Harbor District layout.
>> THOUGH PAPER, STRIPWOOD, AND dressed using a ile or sanding stick. Sty- relect speciic prototypes, including
RESIN are still viable modeling materials, rene bonds quickly and easily using the distillery complex represented here.
styrene has clearly become the most a small amount of plastic-compatible Regardless of the size, shape, or com-
common product today’s model rail- adhesive such as cyanoacrylate (CA) plexity of my scratchbuilt styrene
roaders use to build layout structures. or plastic cement. structures, I typically follow the same
Styrene, a type of plastic, is available in Even delicate-looking assemblies are basic construction process. hose seven
many diferent thicknesses, sizes, and durable enough to withstand handling steps are outlined here.
styles, including strips, beams, tubes, or modiication. Holes or voids in sty-
and sheets made to replicate clapboard, rene can be easily illed with putty or Now on ModelRailroader.com
brick, and other textures. Suppliers styrene scraps. Many commercially
include Evergreen Scale Models, JMD available built-up structures and kits are Download a PDF of the full track plan
Plastics, JTT, Midwest Products, made from styrene, so grating a new for Paul’s Baltimore Harbor District.
Plastruct, and he N Scale Architect. component to a manufactured part is an Click the Scenery & Structure cover
Modelers ind styrene is easy to cut easy task to complete. image under the Special Issues tab
with a hobby knife or to simply score I’ve built numerous styrene structures at www.ModelRailroader.com.
and snap. he edges can be easily or modiied commercial structures to

STEP 1 DRAW A PLAN

Door and window
castings used to
refine initial drawing

Mockups help determine

where to carve out terrain

Foam-core board
mockup with
door openings
marked

Artist sketch sheets measuring 18 x 24 inches are ideal for making full-size plans of each structure wall. Paul
sometimes assembles cardboard or foam-core board mock-ups to help determine the ideal arrangement for structures.

I BEGIN BY DRAWING a plan and elevations of the If you use a computer to generate a plan, you’ll
structure I envision. Typically I draft the plan to match my probably still want a full-size printout to provide a clear
modeling scale (HO), although a smaller and less precise visualization of the project, particularly if you plan to use
sketch may be suitable for small structures such as sheds commercial window castings.
or shanties. My objective here is to determine the exact Even with a drawing or printout at hand, I might still
measurements and define the basic components. To have questions regarding the size, shape, or logistics of
determine the best window and door placement, I place assembling the structure. In this case, building a simple
castings on the plan and reposition them until I’m cardboard or foam-core board mock-up often helps
satisfied the arrangement will work. resolve these issues.

6 SCENERY & STRUCTURE PROJECTS

STEP 2 BUILD INNER CORE WALLS
Use pencil marks to indicate Discard pieces
where to score styrene marked with an “X” Overlapping corners
allows easier installa-
tion of a sloped roof

Position window cast-

ings on styrene to check
accuracy of lines

Here, Paul is transferring the design onto a styrene sheet Paul builds inner wall sections to overlap the .060"
that will later form the core walls of the structures. thickness of the abutting wall at adjoining corners.

I BEGIN CONSTRUCTION by using a pencil to scribe the While a structure built using only .040" thick styrene
plan for the inner walls on a plain sheet of .060" thick siding is another option, I prefer using the inner core
styrene. Because wall sections require a large quantity of walls to construct a much sturdier model. I’ve also found
material, I purchase 4 x 8-foot sheets economically in this that cutting out openings through the back of the plain
thickness from a plastics distributor. You can start with inner walls makes for quicker, easier, and neater cuts.
smaller sheets if you desire. Building inner walls from If an inner wall section includes a roof peak, consider
thinner styrene, .030" or .040", makes it easier to cut out how the section will join an abutting wall. I always factor
openings. However, using thinner material requires the in an additional length (the thickness of the adjoining
addition of internal bracing to prevent walls from warping wall) to allow the peaked section to overlap the other wall
or bowing. section and accommodate a sloped roof.

STEP 3 SCORE AND SNAP, SORT AND ASSEMBLE

Discards

Use 3 or 4 passes
to scribe lines

Retain these loose

pieces
Use a straightedge or framing square
to help align and rebuild wall.

Paul uses a hobby knife and metal After breaking up the previously The styrene pieces are now sorted,
straightedge to score rather than scored styrene sheet, Paul arranges assembled, and cemented into
carve through styrene. the loose pieces for reassembly. complete wall section.

WHEN DIVIDING STYRENE sheets, I prefer using a hobby To create window and door openings, I use a hobby
knife to score and snap the material rather than attempt- knife to score a grid pattern around the areas I want to
ing to cut through the entire thickness. After transferring remove after cutting up a wall section.
the plan onto the .060" styrene, I use a metal straightedge After reassembling the walls, I test-fit the window and
and hobby knife to make three or four passes along the door castings. I use a file to expand openings that are too
defined lines. I then use my hands to bend tight. Conversely, I glue strips and scraps of styrene into
and snap sections apart. oversized openings.

www.ModelRailroader.com 7
 STEP 4 FORM LAMINATED WALLS

Previously framed
Bond exterior cover- openings serve as
ing to inner walls cutting guides

A needlepoint applicator bottle allows you to apply Paul finds a heavy-duty utility knife is the best tool for
cement more quickly than when using a brush. cutting out window and door openings.

AFTER BUILDING a set of inner walls, the next step is to I can apply it over the entire surface. My solution is to use
add the exterior covering with styrene representing an A-West needle-point bottle applicator with a larger
clapboard siding, brick, stone, or other construction .013" (inside diameter) tip that allows me to quickly cover
material. Regardless of which covering I use, I laminate the wall with solvent.
the sheet to the inner walls before assembling the side Although I use sheet styrene to cover most of my
and end sections of the structure. Following this structures, clapboard exteriors can be built using indi-
sequence makes it easier to cut out wall openings vidual .010" strips of styrene. For this, I use coarse
through the siding. Typically the exterior covering should sandpaper to add simulated wood grain to the strips.
overlap at the corner of an adjoining wall. After consider- To install the individual strips, I start at the bottom of
ing how the pieces overlap, I cut the material a bit each wall section and add overlapping strips up to the top
oversize and trim it down later. edge. Installation goes quickly and you’ll end up with
When working with thinner .020" brick sheets of styrene, some irregularities that give your structure character.
I use a disk sander to add beveled edges to adjoining After adding the exterior siding, I use a utility knife to
sections. This option usually isn’t necessary for clapboard cut out the openings on each wall piece. I cut from the
or other sheets of styrene used to represent wood covering, back side of the wall sections, using the openings in the
as trim pieces will easily cover corner joints. inner core walls to guide the sharp blade. I then re-test
As I’m laminating larger sections of styrene, I some- the window and door castings before assembling the
times find liquid plastic solvent evaporates faster than walls to form the basic building.

MORE WINDOWS THAN WALLS

THOUGH THE SCORE-AND-SNAP technique works fine for castings (Grandt Line no. 5010 or Tichy no. 8036) to
building any styrene structures, I used an alternative serve as spacers while I glue the solid pieces that form
approach for the Sackett Co., an industrial building that’s the side walls. On this structure, I used plastic corrugated
mostly windows. Here, I use stock roundhouse window siding to cover the basic wall assembly. – P.D.

8 SCENERY & STRUCTURE PROJECTS

STEP 5 APPLY TRIM
End piece overlaps
non-peak inner wall to
maintain a continuous
slope.

Trim piece cemented

.040" clapboard siding into groove

Exterior siding extends by

thickness of inner wall to
create trim groove.

.040" square trim piece

Paul designed one end of the clapboard siding to accommodate a .040" square trim piece.

The contrasting color of the concrete on this brick The cornices on these row houses are a combination of
building livens up the facade. styrene strips and corbel castings.

A STRUCTURE’S UNIQUE character and charm often stems roof edges and use bent styrene or metal rod to repre-
from the trim added to the basic building shape. Many sent downspouts.
times this decoration is simply an overlay along the eaves The various substructures found atop structures,
or around windows and doors. I like to use a variety of especially industrial buildings, can enclose conveyors,
layered styrene strip, angle, and half-round pieces to pumps, or machinery that are critical to site operations.
model prototypical combinations of dimensional lumber The substructures on my distillery are freelanced, but
or shapes. For more complicated forms and shapes, such they’re based on prototype designs. While some of these
as corbels, I use commercial cast parts. substructures may look complex, I assembled the
Gutters and downspouts also add visual interest to a box-like components following the same techniques for
model structure. To model gutters, I attach channel along making the main structures.

www.ModelRailroader.com 9
 STEP 6 ADD PAINT AND WEATHERING EFFECTS

Assembled structures receive a primer gray undercoat, followed by a coat of Paul sprays brick with red primer
white paint Paul applied using a brush. before applying Depot Yellow paint.

FOR THE BASIC STRUCTURE, especially those represent- before attaching them to the base structure. This is also
ing wood buildings, I use a spray can of gray primer to true for trim pieces. I avoid marring finished surfaces by
cover the exterior walls. Then I use a brush to paint the using only a small amount of adhesive applied with
final color, typically white or off-white. Since a brushed-on pinpoint accuracy.
coat isn’t as evenly applied, the primer shows through to My largest distillery structure represents a painted
produce a subtly weathered appearance. For structures brick building. However, brick industrial structures are
needing less of a weathered effect, I simply brush on more often left unpainted. For these I simply apply a
another coat of paint. In either case, there’s always an shade of dull red paint and ignore the absence of mortar
option to apply additional weathering effects later. lines, which are often not readily visible from a distance.
If I decide to make windows and doors a different color When it’s absolutely necessary to add mortar lines, I use
than the siding, it’s much easier to paint all of the castings a brush to apply a gray wash over the red.

STEP 7 INTEGRATE STRUCTURES INTO THE SCENE

A small structure fits into the open The building on the left fits into the Pins keep the structure in position
area framed by 1 ⁄32" wood strips. carved-out area at the center. and make it easy to remove.

HERE AGAIN, the logistics of installing a styrene structure For hillside installations, I often cut out a recessed
are something I like to consider before construction space that lets me plug the structure into a spot. This
begins. Even large structures are relatively lightweight, type of installation is easy to create in a scenery base
so I lmake them easily removable. This allows me to lift made from extruded-foam insulation board.
them off for dusting, repairs, or nearby scenery work. Yet another option is to make the building foundation a
In most cases I use strips of wood to build a frame, styrene slab that’s separate from the rest of the structure.
sized to the footprint of the structure, to form a barrier After setting the slab level on the terrain, I use plaster to
between the ground and foundation. I glue ground cover blend the foundation into the scenery. I then add pins to
to the top edge of the frame so it won’t be visible after the slab and fasten a corresponding plate to the bottom
installing the structure. of the building to ensure the exact placement. S&SP

10 SCENERY & STRUCTURE PROJECTS

BASIC SCENERY TECHNIQUES

Installing a foam berm, adding ground foam, and planting trees are simple ways to improve your layout. Jim Forbes photos

Take your layout from a blank canvas to a detailed scene with these ideas

BY CODY GRIVNO

>> MANY MODELERS SPEND HOURS With the wealth of scenery products trees of all description (some even have
painstakingly detailing locomotives and available today, it’s easier than ever to realistic wood trunks!)
weathering freight cars, and that’s have a realistically scenicked model rail- If you’ve put of scenery on your model
understandable. hese are the stars of road. Gone are the days of dyed sawdust, railroad, give these techniques a try. he
the show on a model railroad. But when lichen, and lat plastic trees. Today we’re scene shown above is just 4" deep, but can
it comes time to bring their stage to life blessed with ground foam in an amazing easily adapt these methods to any scene.
and add scenery to a layout, several of assortment of colors and textures, clump Scenery will turn your layout from the
those same people will cringe. and ine leaf foliage, and great looking Plywood Paciic to a showcase.

STEP 1 CUTTING AND SHAPING

Utility knife
Scrap foam
T pin
Make cuts
away from
body Attach with
Yardstick Extruded-foam Sanding sponge foam-safe adhesive
insulation board

THE DISTANCE BETWEEN the back- 45-degree angle with the same knife. which option you choose, work with
drop and roadbed for our scenic To prevent injury, make the cuts away the foam in a well-ventilated area and
berm is 4", but I didn’t want to fill the from your body. The foam has just wear proper safety gear.
entire space with foam. Instead, I cut enough resistance that the knife may I randomly attached pieces of
the foam 33 ⁄4" wide with a large utility slip, potentially causing injury. scrap foam to give the berm some
knife. To prevent the foam from I further shaped the foam with small elevation changes. It’s impor-
tearing, I made several light passes sanding sponges. The sponges are tant to use an acrylic (foam-safe)
instead of trying to cut through it in offered in a variety of shapes, adhesive, such as Liquid Nails for
one pass. A metal yardstick is an including a rectangular block, Projects or DAP Dynaflex 230.
ideal cutting guide. 45-degree edge, and round edge. Solvent-based adhesives will attack
To make the rectangular block of You can also shape the foam with the foam, causing it to dissolve.
foam look more like a berm, I tapered rasps. However, these have a ten- I used T-pins to hold the foam in
the edge closest to the aisle at a dency to tear the foam. No matter place while the adhesive dried.

www.ModelRailroader.com 11
 STEP 2 INSTALLATION Putty knife

Tongue Groove

Waxed paper

Painter’s tape DAP Dynaflex

230 sealant

WITH THE FOAM PIECES rough cut, it workshop. I used a putty knife to
was time to install them on the evenly distribute the adhesive.
layout. I’ll be blending the berms into The extruded-foam insulation
the layout with Sculptamold, so board has a tongue-and-groove edge, Bound volumes
I needed to protect the freshly which was quite beneficial. The first hold foam
down while
painted backdrop. To do this, I used berm I shaped had the tongue to the adhesive dries
Scotch blue painter’s tape to secure right, so I shaped the second piece so
pieces of waxed paper to the tem- the groove was to the left. This
pered hardboard. Sculptamold, a created a barely discernible joint.
papier-mache-based product, won’t I wanted to give the adhesive
stick to the waxed paper, making it plenty of time to dry, so I installed the
easy to remove. foam on a Friday afternoon. However, Model Railroader bound volumes (an
Next, I applied DAP Dynaflex 230 when I set the foam in place, I noticed old trick I learned from former
sealant to the back of the foam. The it had a slight bow in the middle. To managing editor Jim Kelly). On
color doesn’t matter – I used gray prevent the foam from lifting over the Monday morning, the adhesive was
because that’s what was in the weekend, I weighed it down with dry and the foam was flat.

STEP 3 SCULPTAMOLD AND HILLS

Work in gentle,
blotting motion

Putty knife
11 ⁄2"

Damp sponge

Sculptamold Compass

Hill

AFTER TAKING THE T PINS out of the sponge to blend any seams or ridges the sky blue backdrop to be visible
scrap pieces of foam, I blended the left by the putty knife. To prevent the at the horizon line. Then I remem-
hills into the rest of the berm with Sculptamold from lifting, I worked in bered Lance Mindheim’s article in the
Sculptamold. I also used the material a gentle, blotting motion. August 2009 issue of Model Railroader
to blend the front edge of the berm I let the Sculptamold dry for about where he wrote about using scuff
into the tabletop. 3 hours before I removed the waxed pads to model distant hills. I didn’t
Sculptamold has a short working paper. It was still far too soon to add have any scuff pads on hand at the
time (10-15 minutes), so I worked in scenery (the Sculptamold should be time, and the magazine deadline was
small areas. I used a putty knife to free of cold, damp spots before coming fast. Instead of using scuff
spread the scenery material, though moving to this step), but I could work pads, I painted the backdrop.
any similar smoothing tool will work. on the backdrop. To do this, I first set a compass so
I let the Sculptamold set up for Since I knew I’d be adding trees to there was 11 ⁄2" between the spike and
about 5 minutes before using a damp the berm (see Step 5), I didn’t want the pencil lead.

12 SCENERY & STRUCTURE PROJECTS

STEP 3 SCULPTAMOLD AND HILLS (CONT.)
Soften edge by dusting color
Painter’s tape

Model Master Grimy Black

NEXT, I ROUGHLY MASKED along the airbrushing in a layout room, be sure To soften it, I dusted the edge
pencil line with the painter’s tape. to wear proper protection for the with more Grimy Black. The soft
Then I sprayed the backdrop with paint you’re using. edge made all the difference, and
Model Master Grimy Black, which is I removed the masking tape but better captured the look of a distant
similar in color to a scuff pad. When didn’t like the look of the hard edge. tree line.

Heki grass pad

STEP 4 GROUND COVER Foliage net
Fine-Leaf Foliage

Earth-toned latex paint

Thinned white glue

Soil

WHEN THE SCULPTAMOLD was I used a variety of scenery prod- To give the berm an unkempt look,
completely dry, I painted it and the ucts for the floor of the wooded area. I added chunks of Heki wild grass pad
foam with an earth-tone latex paint. First, I applied Woodland Scenics (no. 1575) and Woodland Scenics
Once the paint had dried, I coated the burnt and light green, green blend, medium green foliage net.
scenery base with thinned white glue and earth blend turf. I followed that Finally, I added assorted colors of
(9 parts glue, 1 part water). I worked with Scenic Express farm pasture Woodland Scenics Fine-Leaf Foliage.
in small areas so the glue wouldn’t blend Flock & Turf and fine soil. This This simulates low-lying scrub and
dry before I had time to add the provided a good base, but the berm softens the edge between the berm
scenery materials. looked far too manicured. and backdrop.

Grand Central Gems

STEP 5 TREES Use awl to make holes JTT Scenery
Products
Timberline Scenery

Use pliers to plant trees

USING FOAM FOR THE BERMS is ideal tree, I simply plugged the hole with used on other portions of the Milwau-
when it comes to planting trees. ground foam and tried again. kee, Racine & Troy. I secured the trees
I used an awl (a metal straight pick I used trees from Grand Central with full-strength white glue. I used
will also work) to poke holes in the Gems, JTT Scenery Products, and clothespins to keep stubborn trees
foam. If I didn’t like the location of the Timberline Scenery to match those upright while the glue dried. S&SP

www.ModelRailroader.com 13
SMALL-TOWN STRUCTURES
WITH BIG-TIME APPEAL
Tips and techniques for adding charm and character to a downtown district

BY GERRY LEONE
PHOTOS BY THE AUTHOR

Commercial kits, along with kitbashed and scratchbuilt structures, make up a

big portion of downtown Westcott, a small town on Gerry Leone’s HO scale
Bona Vista RR. In this article, Gerry shares how he added interior and exterior
details to give the setting a sense of time and place.

>> ALTHOUGH SCENERY on my HO Perhaps building a town named ater would have two main blocks of buildings
scale Bona Vista RR is nearly complete, a person of such stature was the reason positioned just 12" from the aisle. hese
I speciically reserved space to include a I avoided doing it for so long. I wanted to would be showpiece structures – detailed
small downtown district that featured be absolutely sure my modeling eforts in with interiors and possessing enough
structures and details typical of towns this area would yield a scene with a char- visual appeal to make visitors linger.
set in the Upper Midwest. And from the acter worthy of its namesake. With that frame of reference, I began
beginning I planned to name my town Westcott is situated against the back- assembling the city of Westcott using an
Westcott, in honor of Model Railroader’s drop in a corner of my 15 x 35-foot lay- array of kit building, kitbashing, and
former editor and one of my model rail- out. At its widest point, the space is only scratchbuilding techniques, many of
roading heroes, Linn Westcott. about 36" deep. As I planned it, the town which I’ve shared in the following pages.
14 SCENERY & STRUCTURE PROJECTS
This is one of the two city blocks Gerry
assembled near the front edge of his layout,
where visitors can easily view exterior and
interior structure details.

CORNER DRUG STORE

Gerry used scratchbuilding techniques Small but highly visible vignettes, like Because the interior of the drug store
to assemble Treeg’s Drugs from styrene this rooftop scene Gerry added atop isn’t clearly visible, Gerry used roughly
sheets stamped with a brick pattern. Treeg’s Drugs, give visitors something formed shapes to represent store
fun to discover. displays and merchandise.

WHILE I ORIGINALLY planned to build Line window castings, along with wood, and even pencil eraser. For a bit
Westcott completely from scratch, miscellaneous pieces of strip styrene. of whimsy, I added a couple of workers
I had two structures from a previous I made the distinctive cornice from thin loafing on the rooftop, and two “Bell
layout I couldn’t resist including. The basswood. I also designed and printed System Public Telephone” signs give a
most compelling was scratchbuilt from a “painted-on” sign for the brick wall, hint at the timeframe.
a Lewis Lehrman article in the May based on a prototype I found online. The second building that migrated
1971 issue of Model Railroader. The The pharmacy has an entire interior from my previous layout was the hotel,
most notable characteristic of this featuring a cash register counter, an the Tubafore Arms, named after the
structure is the side-street wall – it isn’t ice cream freezer, and window decora- 2 x 4 lumber I used as a placeholder.
set at a 90-degree angle to the front. tions, along with a pharmacist and This model began as AHM’s Gruesome
Years ago, I built Treeg’s Drugs customer. All the details were fash- Casket Company before I reworked it
using Vollmer brick sheets and Grandt ioned from bits and pieces of styrene, into a four-story structure.

www.ModelRailroader.com 15
 BEGIN ANEW WITH AN OLD-LOOKING BUILDING

Plans in the September 1973 issue of

Model Railroader helped Gerry
scratchbuild this structure from
scribed basswood siding.

Gerry built Renay’s Quilts to include an angled side wall, a distinctive hip roof,
and a well-detailed interior.

WITH THE TWO REPURPOSED struc- with a geometrically sound design that
tures serving as the starting point for looked good on the structure. Techni- After cutting out the window
the downtown, I decided to build the cally, it’s called a “pyramid hip roof” openings, Gerry then loosely
structure across the side street from because all four roof faces meet at assembled the walls and test-fit the
Treeg’s next. I based this new structure a single point. Grandt Line windows and Tichy doors.
on “Faber’s Cyclery,” as depicted in I scratchbuilt the roof shingles by
the September 1973 issue of Model cutting thin strips of typing paper
Railroader. The early 20th century with pinking shears. I fashioned the
architecture of this wood building lightning rod on the witch’s hat roof
suggests it could have been one of from the needlepoint applicator on a
the first structures built in the young bottle of model oil. I topped it with
town of Westcott. a small decorative bead.
To build Faber’s, I used sheets of To create the bay window, I sanded
Northeastern 1 ⁄16" scribed siding. the sides of three Grandt Line windows
I transferred the plans onto the wood, to a flat surface and used a solvent
making sure all the window openings adhesive to join them. I set the left and
were square and plumb, and then right windows at the same angle as the
used a hobby knife to cut the open- side wall, and placed the center By design, Gerry built the interior of
ings. Backing the siding with strips of window at an angle that split the Renay’s Quilts on a styrene foundation
masking tape helps prevent the wood difference between them. Next, I built that slips out of the building for
from splitting. the walls that support the windows, close-up viewing.
The only deviation from the printed and added the entrance using two
plan was the rear wall I resized as a Tichy door castings I glued together. actual quilts Renay made. Three-
result of the angled side street wall. I decorated the bay windows using dimensional cutting tables, counters,
Making a cardboard mock-up of the cut lace curtains from Builders In Scale fabric bolts made from typing paper,
building helped me determine the (www.builders-in-scale.com). Other and several Preiser figures complete
correct measurements. I also opted upstairs windows received Venetian the scene.
not to build the details on the rear of blinds, also by Builders in Scale. I anchored the entire interior
the building, as they’d never be seen. I named this building “Renay’s assembly to the building using two
While there are many reasons to Quilts,” in honor of my wife. To add small brass pins that slip through holes
love the Faber’s building, the hip roof an appropriate interior, I built a floor in the exterior walls and into the
wasn’t one of them. This jaunty, odd and walls using .040" thick sheet styrene floor. When I want to show off
angle roof gave me headaches. After styrene and then glued printed the detailed interior to Renay’s friends,
spending several evenings cutting photos of fabric racks to the walls. it’s easy enough to remove the pins
mounds of scrap cardboard, I came up I also added photo-reductions of and slip out the interior.

16 SCENERY & STRUCTURE PROJECTS

 CITY PLANNING
AS I CONSIDERED THE next buildings blocks meant more streets, which subtract space to accommodate the
for Westcott, I thought it would be best would give the town more visual overhang on Renay’s roof. All things
to first determine the size of the actual interest and make it seem larger than considered, I knew the remaining
city blocks. That measurement would it actually is. structures would need to be narrow.
mandate the size of the remaining The right-hand block would have The ideal solution came in the form
buildings to be built. After some Renay’s Quilts on one corner and the of a Chooch Enterprises Ultra Scale
maneuvering, I figured that each of the Tubafore Arms on the other. But this limited-run set of building facades,
city blocks should be about 85 scale meant I had a scant 26 scale feet which leaves the modeler to add side
feet. While this is shorter than a available for adding a structure and back walls and a roof. I chose the
prototypical block, I knew that smaller between them – and I still had to Branson Building facade.

SQUEEZING IN A FURNITURE STORE

Gerry found the origins for Westcott Gerry used a shadowbox technique to Gerry added printed photos to the back
Interiors in a simple facade from build three separate, highly visible wall of the shadowbox to make it
Chooch Enterprises. showroom displays. appear much greater than 1” deep.

TO BUILD A TALL, narrow structure, wall using computer graphics software

I started with the Ultra Scale Branson and line art from the Internet.
Building facade. I made the sidewalls The large windows made a well-
using 3M Super 77 Spray Adhesive to detailed interior necessary, so I used a
laminate Model Builders Supply “shadow box” technique in which the
(www.modelbuilderssupply.com) brick three-dimensional details are only
material onto a .040" thick styrene about 1" deep. I built the box from
sheet. The tricky part was punching thick, black cardboard, and attached
the holes for the masonry-style three 1" deep showroom displays at
windows, which should be embedded each floor level. An otherwise blank brick wall draws
in the bricks rather than overlapping Again using the Internet for source more interest after Gerry added a
them. Careful cutting with a nibbling photos, I glued several pictures of computer-generated sign.
tool yields a precise fit. Since it would furniture store interiors to the back
never be seen, I decided not to detail a walls. I then used styrene scraps to visible to the tallest of visitors, I added
back wall. Instead, I simply cut a plain build a three-dimensional couch, chair, a variety of vents and stacks.
styrene sheet to fit the space. and table. To add more interest, As the final step to completing this
The large display windows give I included a seated Woodland Scenics structure, I used my computer to make
the building a retail store feel, so figure and a salesman in a suit and tie. a “Westcott Interiors” banner for the
I named the building Westcott Interiors With all the details in place, I glued front window and printed out two
(“Another interior would be inferior”). the shadowbox to the inside of the awnings to give the building a more
I designed a billboard for the brick side fascia. Even though the roof is only refined, upscale appearance.

www.ModelRailroader.com 17
 BUILDING A BIG BANK

To create this sign over the bank, Gerry

used 3mm lettering to build a mold he
developed into a debossed casting.

and topped it with a plastic jewelry

pearl that I drilled out to fit a red
grain-of-wheat bulb.
Banks like this always had a “carved
in” (or “debossed”) sign over the door.
I first found a 3mm set of Slater’s
Gerry built his bank from a Supply Line kit. He added the weatherball and Plastikard three-dimensional letters.
debossed sign to give it a distinctive Upper Midwestern character. I mounted those face-down on a piece
of styrene, built a mold box around
ANOTHER ARTICLE printed in the May As with the rest of these front row them, then poured in Micro-Mark’s
1974 issue of Model Railroader buildings, I knew the details would 1-to-1 Rapid Silicone Mold Rubber.
inspired me to add a bank in Westcott. make the structure more authentic. After allowing the mold to cure,
I wanted a massive structure in the I made this a “Northwestern Bank,” a I applied Micro-Mark’s Rubber-to-
middle of the block, so I used Supply regional bank chain found in the Upper Rubber Mold Release, then made a
Line’s Redwood Street Building kit as Midwest during the 1950s. Northwest- new mold of that initial mold. Finally,
the basis for my bank. I built this cast- ern Banks had a distinctive “Weather- I used Bragdon Enterprises resin in the
resin kit as per the directions but saved ball” sign that would be lit various second mold to create a correct-facing
the rear wall for future projects. I also colors, depending on the forecast. sign with debossed letters. I filed it to
added a skylight by Model Memories. I made the sign from styrene scraps, size and glued it above the bank doors.

A BARBER SHOP CUT TO SIZE

KNOWING HOW LONG my city block
would be, I found one last structure to
fill the space. Design Preservation
Models’ Stone Bakery kit has a very
interesting bay window and intriguing
storefront windows at ground level.
Even better, it was the perfect width.
I built the kit per the manufacturer’s
instructions, again saving the rear wall.
The building quickly became “Frank’s
Barber Shop,” named for my dad’s first
career. Again, I used a shadow box
technique to build a detailed interior.
Along the sidewalk, I made the
requisite barber pole by rendering red
and blue stripes on a computer, then
gluing a printout to a short length of
styrene rod. At the top of the pole
I added a silver ball bearing.
Two senior citizens on a bench
Frank’s Barber Shop, an unaltered Gerry used a computer graphic, a outside add the final touch. One holds
Design Preservation Models’ kit, styrene rod, and a silver ball bearing to a small dog on a leash, the other is
completes the six-building scene in form the barber pole attached to the talking to a mom and her barber-
Gerry’s small town of Westcott. front of the shop. averse young son.

18 SCENERY & STRUCTURE PROJECTS

 INSTALLING SIDEWALKS
AFTER COMPLETING the structures,
I turned to the sidewalks. Rather than
adding sidewalks that abut the build-
ings, I created each city block using a
single piece of styrene and mounted
the buildings on top. I contacted a local
materials supplier to find a 4 x 8-foot
sheet of .080" styrene, about 8 scale
inches thick, that was large enough to
build my city block.
For the main street of my town,
8-foot-wide sidewalks looked right,
with 5-foot walks on side streets.
I arranged the buildings on the sheet
of styrene, marked their locations, and
cut the thick styrene by making
multiple passes with a knife blade
guided by a metal straightedge.
To cut the corners, I traced the
bottom of a plastic bottle and carefully
cut along the line. I then scored the
sidewalks using a scribing tool. I also Gerry built both city blocks on a sheet of .080" thick styrene he purchased from a
used the tool to scribe random sign materials supplier. He used a plastic bottle to shape the curved corners.
cracks and chips.
I painted both blocks using Polly
Scale Concrete. [Testor Corp. is now
selling this color in its Model Master
line. – Ed.] After allowing the paint to
dry, I used a paintbrush to apply an
India ink mixture (½ teaspoon India ink
in ½ pint of 70-percent isopropyl
alcohol), which settled into the cracks Gerry made joints and cracks using a scribing tool. He also added a wash of India
to make them more visible. ink after painting the walkway.

DETAILS ALONG THE BOULEVARD

I COMPLETED BOTH of my downtown
blocks by adding a number of small
details that help establish the era and
character of downtown Westcott. First,
I installed several Old Time Street
Lamps from Walthers that I salvaged
from my previous layout. I also added
a mailbox, a few shoppers, and some
debris, including newspaper pages
I made from computer printouts.
In an effort to further define the era
of the setting, I made and installed
parking meters that were around in the
early 1950s. To build a familiar Gerry added figures and objects such A wide array of parking meters was
inverted-teardrop meter, I used two as newspapers, lamp posts, and used in the 1950s, but Gerry found this
discarded plastic part sprues, one parking meters to establish the period. teardrop style was simplest to build.
smaller than the other, and a solvent
adhesive to attach them to each other. it was easier to handle that way. Once added a dot of white paint to represent
While the plastic was still soft, I had enough meter bodies created, the timer dial (plus a red mark for
I squeezed the two sprues together. I used a no. 75 bit to drill a hole in the expired meters).
Then, as if slicing bread, I used a bottom of each, into which I glued a That completed the main blocks of
sharp hobby knife to cut thin slices short length of .022" brass wire. Westcott. I imagine the town’s name-
from the sprue “loaf.” Before each cut Using a fine-tipped brush, I painted sake would be proud to stroll down
I sanded the next meter face flat, since each of the meters Stainless Steel and these city streets. S&SP

www.ModelRailroader.com 19
17 TIPS TO CREATE
AUTHENTIC SCENES

Is this what you might consider a

highly detailed model railroad scene?
Use details selectively for more realism Author Pelle Søeborg is a master at
composing realistic layout scenes like
this one, but he does it without
BY PELLE K. SØEBORG • PHOTOS BY THE AUTHOR excessive use of small details.

>> WHEN MY HO SCALE Union Paciic experience, adding lots of details – large too cluttered and inauthentic.
Daneville & Donner River layout irst or small – won’t guarantee realism. More I’ve found that layout detailing is
appeared in the March 2005 issue of oten, extensive detailing detracts from really an exercise in restraint. What
Model Railroader magazine, I was an otherwise authentic scene. I decide to omit from a scene is equally
quite thankful to hear complimentary To clarify my point, imagine a one- as important as what I elect to include.
remarks. However, I was puzzled why so square-mile real-world setting that you’d You don’t need a lot of details to create a
many people considered my model rail- like to model in HO (1:87.1) scale. In realistic scene – just the right details.
road to be “highly detailed.” On the con- order to make that scene it in the Additionally, making a realistic model
trary, my layout doesn’t include many context of your layout, you’ll have to railroad goes beyond adding a few ig-
details at all, yet that didn’t prevent view- compress or even eliminate some major ures here or an old wood pallet there;
ers from believing it does. components. Now try to collect the detailing covers everything above the
From these comments I concluded same amount of ine detail present on benchwork. Let’s look at the following
that people will sometimes mistakenly the real setting and add it to this rela- tips one by one.
think that a realistic-looking layout must tively smaller area. he result will be a
include numerous details. But in my model railroad scene that looks much
20 SCENERY & STRUCTURE PROJECTS
BALANCING TRACK AND TERRAIN
IN MY OPINION, a realistic-looking
model railroad starts with a simple
track plan. A single track winding
through the landscape might be
viewed as a waste of space on a
model railroad, but it looks authen-
tic. This is especially true when you
model the American West.
Even if your goal is to build a
layout for realistic operation, there
are still various detailing consider-
ations that will help you enhance
operations while contributing to
layout realism.

1 Elevated main line. If you

examine the main line on a Class 1
railroad, you will notice that the
ballast is fairly tall. Most commercial Pelle installed the sidings on his layout at lower height than the main line
cork roadbed I have seen in HO is roadbed. In some places the track looks as if it’s embedded in the ground.
3 ⁄16" thick. That’s not thick enough for

my modern main line, so I cut my

own roadbed from sheets of 5 ⁄16"
thick cork flooring material.

2 Lowered sidings and spurs.

Be sure to vary the height of your
track depending on if it’s on a main
line, a siding, or a spur. Sidings
and spurs are laid directly on the
ground, using a small amount of
ballast. These tracks are also not
maintained as well as the main line,
so you can model that detail too.

3 Broad curves and turnouts.

Factoring wide-radius curves
and long turnouts into your plan
provides reliable operation and Using code 70 flextrack on the sidings and code 55 flextrack on the spurs helps
enhances the authenticity of your distinguish these tracks from the mainline, with its code 83 rail.
right-of way. Avoid the temptation
to install unusual trackwork, such as
three-way or double-slip turnouts,
along your main line.

4 Vary the rail size. I use code 83

for main lines, code 70 for
sidings, and code 55 for spurs. The
difference in height may not be
apparent to viewers, but there’s no
reason not to do it. After all, it isn’t
any harder to lay code 70 flextrack
than it is to lay code 83 flextrack.

5 Service roads. If you’re model-

ing a modern-era railroad, leave
room for service roads along your
right-of-way. These utilitarian paths
give maintenance trucks access to Including a service road along the main line is essential if you want a realistic-
remote locations along the tracks. looking modern-era layout. Also note the high ballast supporting the tracks.

www.ModelRailroader.com 21
 SCENERY ALONGSIDE THE TRACK

Make realistic billboards and

business signs using photos of actual
displays. Scale and print your images
Roads follow the contours of the terrain more than railroad tracks do. Pelle on self-adhesive paper fed through a
also tints the color of the asphalt to blend with the surrounding terrain. color laser printer.

tones and olive green. In areas with

more rain or along rivers and lakes,
the colors tend toward fresh green.

9 Blend the scenery. Look at the

world around you and you’ll
notice how natural elements blend
together. Capture the same effect on
a layout by applying all ground
covering, including ballast, before
you wet or glue it in place. I normally
work one square-foot section at a
time and then repeat the procedure
on an adjacent section of the layout.

10 Include roads. There are a

couple of things to keep in mind
when making roads. Open roads and
highways follow the contours of the
Adding signs and line poles along the roads or railroad right-of-way can terrain more so than a railroad line
enhance a layout. Wide thoroughfares also add realism to your scenes. that seeks to limit grade changes.
Additionally, I’ve noticed that many
BEFORE BUILDING scenery along the
track, it’s a good idea to observe
the world around you. One thing
6 Route through the landscape.
Railroad tunnels and trestles are
often used to add interest to a layout.
modelers tend to build their roads
too narrow. Keeping them as close to
scale width as possible helps make
you’ll notice is that the world isn’t Be sure to include the dips and hills the scene look real.
flat, not even in the desert region in the terrain that make these
I model. In fact, the only flat area on
my layout is the city.
engineered structures essential.
11 Add asphalt accents.
I enhance the appearance of my
As you build a layout, make an
effort to vary the height of the
landscape. Uneven terrain looks
7 Cover the earth. The terrain
needs to be covered with rocks,
dirt, grass, weeds, bushes, and trees.
road by matching the color of the
asphalt to the surrounding terrain.
Since my roads cross the desert,
more natural and provides a more I mix my asphalt gray color with
interesting setting to view trains.
For the most natural-looking
scenery, blend a simple selection of
8 Color your world. Your choices
of colors greatly influence how
your layout will appear. I prefer light
beige to yield a shade that blends
well with the surrounding scenery.
Road markings are also easy road-
colors throughout each scene. colors for my Western scenery. In way improvements.
hot, dry areas the colors are gold

22 SCENERY & STRUCTURE PROJECTS

SELECTIVE DETAILS
LET’S NOW EXAMINE the process
most often regarded as detailing a
layout. Adding figures, wood pallets,
road signs, junk, and other small
details is important, but these items
can’t stand alone. They must first be
supported by realistic trackwork,
scenery, and structures.

12 Line poles. These are often

along railroad tracks or roads.
The poles on my layout are by Rix
Products. Line poles without lines
don’t look authentic, so I’ve wired
mine with EZ Line elastic polymer
string from Berkshire Junction.

13 Billboards and signs.

Although they’re more com-
monly seen within towns, you’ll also
In most cases, only a few detail parts are needed to create a realistic scene.
Weathering effects and some graffiti on buildings and trains also helps.
see billboards in the countryside,
often along highways. My billboards
and signs are laser prints of actual
displays I photographed on trips.

14 Railroad-related details.
Signals, relay sheds, switch
stands, and other equipment are
essential to real railroad operations.
You can’t leave these out of if you
want to create a plausible scene.
Minimally, you’ll want to include a
relay shed near signals and remote-
controlled turnouts.

15 Scene-specific details. Here,

the details make the scene.
Examples include adding junk to
form a junk yard, construction Sometimes specific details are needed to make the scene look appropriate.
materials to form a lumberyard, or Judging by the junk on this property, the owner must run a salvage business.
stored replacement rail to suggest a
maintenance-of-way stockpile.

16 The trains. Your choice of

locomotives and rolling stock
also influences how realistic your
layout appears. Choose common-
place items over the rare. A roster full
of heavy-duty flatcars and gigantic
tank cars detracts from your efforts
to build credible layout settings.

17 Weathering. It just isn’t

possible to make a model
railroad look realistic without some
degree of weathering. Weathering
is mostly associated with locomo-
tives and rolling stock, but can
be found on anything exposed to There are some small detail parts your layout can’t do without. Most of these
the elements. S&SP are railroad-related details, including signals, relay sheds, and switch motors.

www.ModelRailroader.com 23
 BUILD A BIG INDUSTRY
IN A SMALL SPACE
Walthers Tri-State
Custom-made sign Power Authority

Bag plant Rooftop details and

Modified ductwork vents add realism
from Walthers kit

The Wisconsin Electric Power Co. is one of the first things visitors see when they visit the HO scale Milwaukee, Racine &
Troy. Cody Grivno describes how he built this big industry in a small space. Photos by Bill Zuback and Jim Forbes

Rearranging the parts from a kit helped it fit the space BY CODY GRIVNO

>> WHETHER YOU’RE ON A DATE, at a Modeling the Wisconsin Electric In addition to the Walthers kits,
business meeting, or hosting a model Power Co. plant was more than building I used Pikestuf’s Shop kit, no. 15, to
railroad open house, you always want to Walthers Tri-State Power Authority, kit represent an enclosed shed for the rotary
make a good irst impression. hough we no. 933-3055, and plunking it on the lay- dumper. I trimmed 4" of the building,
have many beautifully inished scenes on out. he kit’s footprint is 10" x 137 ⁄8", but it still looks realistic.
our HO scale Milwaukee, Racine & Troy which would cover a siding and the Do you need a lot of space for a big
club layout, the irst things visitors see MR&T’s double-track main line. A better industry? Not always. By converting
when they enter the room is plywood option was to turn the kit into a low-relief full kits to low-relief structures, you
benchwork, and unballasted track. To structure and expand it horizontally by can add a power plant, steel mill, or
give the entrance some visual interest, kitbashing two kits to better ill the whatever industry you want in a
I built a low-relief coal-ired power plant. 9" x 38" space I had to work with. relatively small space.

STEP 1 PAPER MOCK-UP

BEFORE I TOOK A NO. 11 BLADE to a pair of $65 kits, I made a
paper mock-up to verify my plan would work.
I started by photocopying the kit parts that I planned to
use. Some of the end walls were too large to copy on a single
11 x 17 sheet, so I made the first copy, repositioned the panels,
and made the second copy.
I cut the copied parts, taped them to cardboard, and placed
the mock-up on the layout. I marked the opening on the right
end of the plant where trains pass through the building to reach
hidden storage tracks. It’s easier to modify a paper structure
than to rework a plastic kit.

24 SCENERY & STRUCTURE PROJECTS

STEP 2 SCORING AND SNAPPING
I NEEDED TO REDUCE THE SIDE WALLS (nos. 102 and 105)
to 61 ⁄8" wide. To do this, I scored the panels with a no. 11
blade in a hobby knife and snapped the plastic apart.
I started by placing the blade against the edge of the
corrugation at the top of the wall and carefully dragging it
the length of the wall. Work slowly here, especially with
the first few passes, as it’s easy for the knife to wander off
course and damage the molded detail.
After making six passes with the front of the blade, I
flipped it over and used the back edge to speed up the
scoring, as shown in the upper right photo. Using the back
of the blade removes more material on each pass.
I made six more passes with the back of the blade
before snapping the wall. I carefully flexed the wall back
and forth along the line I’d scored until it snapped apart,
as shown in the bottom photo. Don’t apply a lot of
pressure when snapping the plastic, as this may damage
the walls. Once the wall panels were separated, I cleaned
up the edges with a mill file so the walls would seat flush
against the backdrop.

STEP 3 SPLICING WALL PANELS

I DOUBLED THE LENGTH of the front walls by splicing
together two wall panels on the upper and lower levels
(parts 104 and 103, respectively). Straight from the box,
these walls have beveled edges on the left and right to
meet with the side walls. However, to form a flush butt
joint on the wider plant, I squared off the edges where the
panels meet in the middle.
Though I was careful when I cut and filed the plastic
wall panels, there were still gaps. I filled the gaps with
.010" styrene rod and liquid plastic cement. First, I set the
styrene rod in the gap. Then I applied the cement with a
Microbrush, as shown in the top photo. As the styrene
was starting to soften, I pressed it into the gap.

I LET THE GLUE DRY for 24 hours before smoothing the

joint with a double-ended stainless steel carving tool
(the kind used for wax and ceramics, see middle photo). Double-ended
carving tool
I carefully shaved away the excess styrene rod to form a
seamless joint. Then I made several light passes with the
carving tool, being careful not to gouge the plastic.

I FINISHED BLENDING THE SEAM with a product not

typically associated with model railroading, a Scotch-
Brite no. 7448 abrasive hand pad (available at most auto
part stores and building supply centers). In the past I used
sandpaper for tasks like this, but it didn’t conform to the
siding well.
Then I remembered the abrasive pads my dad used at
Abrasive
his auto-body repair shop for prepping plastic bumpers. hand pad
I tried the pad here and it worked great. The pad con-
formed well to the contours of the corrugated metal
siding, and it also removed the plastic fuzz left over from
the carving tool.

www.ModelRailroader.com 25
 STEP 4 PLUGGING OPENINGS
WITH TWO KITS, there are plenty of extra wall sections to
cut up to fill unwanted door and window openings. For
example, when I spliced the two no. 104 wall panels, there
were two door openings. To disguise the fact I spliced two
of the same parts, I filled the door on the right with a scrap
piece of wall panel. I cut the plastic slightly oversize, then
used a file and sanding sticks to remove enough material
for it to fit in the opening. I set the plug into the wall with
liquid plastic cement. Then I brushed two coats of cement
along the joint, which helped fill the seam. I smoothed the
seam with the abrasive hand pad I used earlier.

STEP 5 BRACING .250" x .250" styrene strip

STEP 6 ROOFTOP DETAILS Tall vent with
flagged stack

.040" styrene sheet

THE KEY TO SUCCESS when building big structures is Short “T”-style

exhaust stacks Medium rooftop
sufficient bracing. Over time, plastic walls may bow or air conditioner
door openings curl. To prevent this, I braced the butt
joints with .040" styrene sheet and the walls and roof I REPLACED THE STOCK ROOF with .040" styrene sheet
with .250" x .250" styrene strip. and attached it with liquid plastic cement. When I stood
For those of you in the digital photography age, you back and surveyed the building, it was too plain. To see
can put those no-longer-needed plastic slide mounts to how full-size coal-fired power plants looked, I used
use as corner braces for structures. As you can see in Google Earth. The satellite images of plants in south-
the bottom photo, I cut the mounts in a variety of eastern Wisconsin revealed that my model was lacking
shapes. I like using plastic slide mounts for the corners, rooftop details. Blowers, vents, and air conditioners
but cardboard mounts will also work. If were just some of the things I could add to enhance
you use the latter, you’ll need to the buildings.
cement them to the Fortunately, I had a pack of roof details (no. 933-3733)
building with from Walthers. The set includes more than 30 parts, of
cyanoacrylate which I used four short “T”-style exhaust stacks, three
adhesive (CA). tall monitor vents with round bases, and a medium
If you don’t roof-top air conditioner.
have a stock of Though the details are shown on the unpainted
slide mounts, building, I didn’t glue them on until I painted the
35 mm
slide mount triangles cut structure. I painted the rooftop details with Floquil
from styrene Bright Silver from a spray can. I let the paint dry for
will work just 24 hours, and I then toned down the silver with Model
as well. Master Lusterless Flat (Testor’s Dullcote would also
work). I lightly weathered the rooftop details with
thinned Polly Scale Steam Power Black.

26 SCENERY & STRUCTURE PROJECTS

STEP 7 ROTARY DUMP SHED
Supplied vents
MOST MODERN POWER PLANTS have a covered Motorized blower
building that houses a rotary dumper. I made the
one at right using Pikestuff’s Shop kit. I built most
of the kit following the instructions, leaving off
the office and wall that would be against the
backdrop (I made that wall from .040" styrene
sheet instead). The door opening is 31 ⁄16" x 43 ⁄16".
In addition to the supplied roof vents from Motorized vents
the Pikestuff kit, I added motorized vents and
a motorized blower from the Walthers vent set.

STEP 8 PAINTING AND WEATHERING

EVEN THOUGH THE WALTHERS AND PIKESTUFF buildings
have different siding, I was able to give the structures a
unified corporate look with paint. I started by spraying
both structures with Rust-Oleum Gray Automobile Primer.
Then I used an airbrush to spray the buildings with
Polly Scale Sand (siding), Roof Brown (bag house and
rotary dump shed roofs, trim on power plant), Union
Pacific Dark Gray (roof of power plant and bag house
legs), and Concrete (stack and building foundations). The corrugated siding is a pain to mask over. Instead of
I weathered the buildings with thinned L&N Gray and masking the bag house and airbrushing its vents, I used a
Steam Power Black (1 part paint to 4 parts 70 percent silver paint marker to color in these details. Then I applied
isopropyl alcohol). I built up the weathering in thin layers. an India ink wash to the vents (two teaspoons India ink to
It’s easier to add more weathering than it is to remove it. one pint 70 percent isopropyl alcohol).

STEP 9 FINISHING TOUCHES

6 1 ⁄8"

7 7 ⁄8"

BLMA chain
link fence
HO scale cinders

N scale
limestone
Siding ballast

MR&T main line

THIS BIRD’S-EYE VIEW shows how the Wisconsin Electric sprinkled in, for the driveways. Then I installed BLMA
Power Co. fits in the scene. By doubling the length of the chain link fence around the plant’s perimeter.
front walls, I was able to fill the 9" x 38" space. Though two tracks go into the rotary-dump shed,
Scenicking around the power plant was easy. I used I added a siding long enough for one car so we could spot
N scale limestone ballast, with some HO scale cinders a flatcar loaded with heavy equipment for the plant. S&SP

www.ModelRailroader.com 27
BUILD AN
Associate editor Steven Otte built this N scale cattle
pen diorama using a laser-cut wood kit from The N
Scale Architect, a piece of 1" extruded-foam
insulation board, and a length of scrap flextrack.

>> DIORAMAS ARE an underappreciated practice in

N SCALE
model railroading. Building one is a great way to keep
your hand in the hobby if you don’t have the room,
resources, or time for a full layout. hey’re great for
displaying your rolling stock (and your modeling
skills). hey let you work on a scene that may not be in

DIORAMA
your usual era, locale, or even modeling scale. And it’s
a way to create scenes for your layout at the comfort of
your workbench.
he kit I’m using is Quality Meat Stockyard from
he N Scale Architect (www.thenarch.com). Ater
preparing the extruded-foam insulation board
diorama base with a quick layer of ground cover, I got
This scene is designed to be dropped to work on the structure. Once it was done, I affixed
it to the base and dressed it up with a few details (some
into a new or existing layout purchased, some homemade). A stretch of weathered
N scale track completed the scene.
Consider building a diorama the next time you
BY STEVEN OTTE want to practice a new technique, experiment in
PHOTOS BY THE AUTHOR another scale, or get a jump on a future project.

MATERIALS LIST
AIM Products powders Model Master acrylic paint Miscellaneous
3105 Dark Rust 4881 Boxcar Red ⁄ " square stripwood
1 16

3110 Medium Gray 4884 Roof Brown 1 ⁄8" square stripwood

3111 Dark Gray 4886 Reefer Gray earth-tone latex paint

4887 Grimy Black N scale flextrack
Highball Products Brass wire
121 N scale ballast, light gray Woodland Scenics
510 Real Dirt 631 static grass flock, wild honey
1343 fine turf, yellow
The N Scale Architect 1349 blended turf, green
10703 Quality Meat Stockyard 2217 N scale black Angus cattle

28 SCENERY & STRUCTURE PROJECTS

STEP 1 PREPARE THE BASE I USED A UTILITY knife to cut my diorama base from a
sheet of 1" thick extruded-foam insulation board. The
model has a 5" x 10" footprint, so I cut my base 8" x 14" to
Earth-tone latex paint leave at least 2" on each side. I painted the surface with
earth-tone flat latex house paint, then while the paint was
wet, sprinkled on Real Dirt from Highball Products.
Though the paint adhered the ground cover well, I could
see brush strokes in several places. Once the paint was
dry, I wet the surface with a few sprays of 70 percent
isopropyl alcohol, sprinkled on more dirt, and affixed it
with Woodland Scenics Scenic Cement. This resulted in a
Real Dirt, Highball Products 510 realistic surface.

STEP 2 WEATHERING THE WOOD WHEN ASSEMBLING WOOD KITS, I usually weather the
Rub
Leave parts powder parts with a stain of black paint diluted in isopropyl
in carrier into alcohol. However, this can cause thin wood parts to warp,
sheet while surface
weathering and since most of this kit is exposed fences, I wouldn’t be
able to fix it with hidden bracing. So instead, I aged the
wood parts with dark gray weathering powder from AIM
Dark gray Products. I tried brushing the powder onto the wood
weathering sheets, but worried it would come off with handling
powder, during assembly. So I sprinkled the powder onto the
AIM
Products wood, then rubbed it in with a fingertip. This gave
3111 the wood a gray, aged look.

STEP 3 BRACING THE ASSEMBLY Use square to keep

corners straight while
glue dries
Notch top
rear of inner
walls

⁄ "
1 16

bracing
across
back
wall

WHEN YOU’RE DEALING with parts as thin as 1 ⁄32", even ⁄ " bracing, but for walls this thin, 1 ⁄16" was all I needed.
1 8

microplywood can warp, especially when it’s scribed I cut notches at the top of the inner walls to clear the long
with board detail. To counter this on the two shelters that brace across the rear wall and also reinforced the back
come with the kit, I added 1 ⁄16" square stripwood bracing corner joints. I strengthened the more visible front wall
under the roof, where it won’t be seen. Normally I’d use joints with an extra fillet of glue.

STEP 4 PAINTING Boxcar Red paint, Model

Master Acrylics 4881 THE FENCES in a cattle pen would simply be plain weath-
ered wood, but the attached shelter/hay barn structures
Drag brush top would be painted. I used Boxcar Red from Testor’s Model
to bottom
Master acrylic line. I dragged the brush in vertical strokes,
parallel with the scribed siding, leaving random patches
at the bottom uncovered to represent peeling paint.

www.ModelRailroader.com 29
 STEP 5 ROOFING THE KIT COMES with corrugated foil roofing, which
was far too shiny for my tastes, even if I were modeling
a new structure. To tone it down, I applied a wash of
Model Master Grimy Black acrylic paint, thinned by
dipping the loaded brush into my wash cup. Once that
dried, I brushed on Medium Gray weathering powder
from the peaks down, and Dark Rust powder from the
eaves and valleys up. I left the provided white-metal roof
vents off because I didn’t like how they fit. With the
Dark rust weathering powder, shelters finished, I then completed the kit assembly, as
AIM Products 3105 per the included instructions.

STEP 6 INSTALLATION

Brass wire mounting

pin, painted brown

TO ATTACH THE STRUCTURE to the foam base, as well as medium-viscosity cyanoacrylate adhesive (CA). After the
to straighten some slightly curved fences, I cut a handful glue cured, I positioned the stock pen on the base and
of mounting pins from brass wire. I painted the pins Roof gently pushed the pins home. I glued the base of the
Brown to help hide them against the weathered wood shelters to the terrain with white glue, and sprinkled on
fences and glued them into selected corners using green turf to disguise the glue bead and represent weeds.

STEP 7 TRACK AND BALLAST IN MY SCRAP BOX, I found a weathered piece of N scale
flextrack from a previous project. Since a spur alongside
a cattle pen wouldn’t be laid on a high bed of ballast like a
main line, I didn’t use roadbed. Instead I glued the track
directly to the base with yellow wood glue. While the glue
was still wet, I sprinkled on the ballast. After the glue
Ballast, Highball dried, only a thin layer of ballast stuck, but that produced
Yellow wood glue Products 121 the poorly maintained look I was going for.

STEP 8 CATTLE AND HAY

Finished hay bales Watering
Cow patties
trough

⁄ " x 1⁄8" x 3⁄16" wood block

18

Black Angus
cattle,
Woodland
Mix of yellow fine turf Scenics 2217
and static grass flock

I MADE HAY BALES for the cattle to munch on while squeezing it between my fingers before the glue dried
waiting for their train. I cut several 3 ⁄16" long blocks of 1 ⁄8" returned it to its rectangular shape. I glued a few of
square stripwood. Sticking my hobby knife into one side the hay bales into each of the pens, along with the
to make it easier to handle, I covered the other five sides watering troughs included with the structure kit. Finally,
of a block with white glue, then rolled it in a pile of fine I populated the pens with two sets of N scale cattle,
yellow ground foam mixed with straw-colored static which came with a few scale cow patties for that extra
grass. The result was more of a fuzzy ball than a bale, but touch of realism. S&SP

30 SCENERY & STRUCTURE PROJECTS

Railroads have always needed signs for safe, efficient operation. While each railroad was reasonably consistent with signs
on its own right-of-way, shapes, colors, and messages varied a lot from railroad to railroad. Jeff Wilson photo

>> THE RAILROAD RIGHT-OF-WAY

SIGNS ALONG
is rich with signs that convey informa-
tion, warnings, place names, mileage,
and other messages. he signs come in a
variety of shapes and sizes and have var-

THE LINE
ied in appearance and content from rail-
road to railroad.
Lots of sign models are commercially
available (see the accompanying sidebar),
and there are many ways to make your
own. hough your model railroad would
operate just ine without signs along the
Essential to prototype railroad operations, right-of-way, with them you’ve added
credibility. You’ve made your layout look
trackside signs add realism to the model scene like a railroad.

BY JEFF WILSON

www.ModelRailroader.com 31
 CROSSING SIGNS

The familiar X-shaped crossbuck has

long been the most common crossing
warning sign. Through the steam era In 1957, zebra stripes for visibility adorned this crossbuck post on Camas Prairie
many signs, such as the Cadillac & at Craigmont, Idaho. The signboards are on opposite sides of the post. John C.
Lake City crossbuck (left), had reflec- Illman photo
tive glass beads in the lettering. James
A. Brown photo The more recent Monon
grade-crossing signal (right) has the
beaded crossbuck, a beaded “stop on
red signal” sign, and flashers. David P.
Morgan Library collection

THE MOST FAMILIAR LINESIDE SIGNS

are located where roads and tracks
intersect. Since the early 20th century,
the most common grade-crossing sign
has been the familiar X-shaped
crossbuck. Grade-crossing signs are
either passive (signs only) or active
(with flashing lights and/or gates).
Although most crossbucks look This ex-Chicago, Burlington Some of the This ancient former
alike, there have been many variations & Quincy crossbuck has Pennsylvania RR’s Milwaukee Road wig-
over the years. One variation has the sharply angled signboards. distinctive oval wag signal was still in
boards meeting at a sharper angle. You can still see the pattern crossing signs lasted use in Waukesha, Wis., in
Additional markers on posts show the for the zebra stripes once into the 1960s. Philip 2002, but with a newer
number of tracks and perhaps the painted on the concrete R. Hastings photo crossbuck sign added.
name or herald of the railroad. Both post. Jeff Wilson photo Jeff Wilson photo
X-sign boards can be on the same side
of the post, or they can be on opposite You don’t see many of these today, but arm-mounted lights and additional
sides. The ends are most often square some newer signs have additional lights aimed at side streets.
but can be pointed, or the ends can be reflective panels on the posts. Generally, crossbucks remain in
cut perpendicular to the ground. Crossbucks weren’t always stan- place as long as the rails are still
Crossbucks have black lettering on dard at crossings. Into the early 1900s, embedded in the road. If a line has
white boards. Before Scotchlite and railroads used a number of styles. been abandoned or is no longer in
other reflective panels became the Among the best known were the service but the rails are in place, the
norm, reflecting beads were often Pennsylvania RR’s oval, cast-metal signpost will have an additional sign
placed in the letters, giving them a STOP, LOOK, AND LISTEN signs. Some of saying “abandoned” or “exempt,”
distinctive look. these survived into the 1950s and ’60s, which lifts operating restrictions on
The posts supporting these signs but by the late steam era most had vehicles such as buses and on trucks
varied as well. Wood was the norm been replaced by crossbucks. carrying hazardous materials.
through the steam and early diesel Active crossing signs feature some Where there’s a crossbuck, there’s
eras, though some railroads opted for type of warning device. Wig-wag often an advance warning sign.
concrete. For the past few decades signals were among the earliest, with Although not truly trackside signs,
shaped steel posts have become the some lasting into this century. Flashing these familiar orange-yellow highway
standard support. red lights and gates are now the most signs are located in advance of public
During the steam era, some prevalent warning devices. Variations crossings. Since the 1950s, these have
railroads painted crossbuck posts with can include additional warning signs featured an X; earlier signs had the
diagonal stripes to increase visibility. on the post, as well as overhead crossing in a “plus” shape.

32 SCENERY & STRUCTURE PROJECTS

 WHISTLE POSTS AND MILEPOSTS

New Haven used Cast keystone- A modern twist to whistle posts is The Southern Ry. used the standard
solid wooden shaped posts illustrated by this Canadian Pacific sign whistle/horn pattern (long, long, short,
posts, with a were common on that lets crews know whistles and long) to graphically indicate an
black-painted W. the Pennsy. Robert horns are prohibited in this town or approaching grade crossing. Robert S.
B.A. Bentz photo S. McGonigal photo area. Robert S. McGonigal photo McGonigal photo

Typical of more-modern signs along We’re 64 miles Modern mileposts Since line poles were already in place
the right-of-way, this Milwaukee Road from Boston on usually have sheet- along their rights-of-way, some
whistle marker has a metal signboard the Boston & metal signs bolted railroads simply had them do double
mounted on a formed steel post. Albany line. Jeff to steel posts. Jeff duty by attaching mile markers to
Gordon Odegard photo Wilson photo Wilson photo them. Gordon Odegard photo

PLACED PRIOR TO GRADE crossings, Along with whistle posts, some Boston & Albany milepost shown in
whistle posts alert the engineer to railroads used similar signs for bells, the row above.
blow the proper signal (two longs, a using an R for “ring.” (The Pennsy was Instead of erecting a separate
short, and a long). The most common one example, using the same keystone milepost, railroads often put mile
is a simple black W on a white sign, shape as its whistle posts.) These were markers on line poles. Even after many
mounted on a post. The Pennsylvania typically found approaching stations. pole lines began disappearing in the
RR once used its keystone herald as Mileposts, as the name implies, are 1980s and ’90s, the mile-marker poles
the shape for its whistle posts. located every mile along a railroad. were often left in place.
Other variations include using an X The most common type of milepost Although the average model
instead of a W or showing the pattern today is a small metal signboard with railroad wouldn’t be able to use many
of the whistle signal (two longs, a black numerals on a white background, true mileposts (a scale mile is 33 feet in
short, and a long), as on the photo of attached to a steel or wood post. The N scale, 60'-6" in HO, and 110 feet in
the Southern Ry. sign (top right). sign is usually mounted atop or offset O scale), you can fudge on this a bit
A relatively new variation is the to the side of the post so that the without giving up realism. Frank
no-whistle sign. Some municipalities number can be marked on both sides Ellison, a pioneer of model railroad
have passed ordinances restricting the of the sign. operations, suggested using “smile
use of horns. In these areas you’ll find As with other signs, in the early posts” every tenth of a scale mile. This
either no whistle posts or signs with a days railroads sometimes chose style allows you to have more mileposts
no-whistle indication, as shown on the and permanence, using stone or than your layout would need other-
Canadian Pacific sign (top middle). concrete, as on the New York Central’s wise, without seeming unrealistic.

www.ModelRailroader.com 33
 SPEED SIGNS

This former Milwaukee Road speed The speed limit is 60 for all trains on this portion of the Atlantic Coast Line, as
sign has limits for both passenger and indicated by the diamond-shaped sign at right. Also note the NO TRESPASSING
freight trains. Robert S. McGonigal photo sign behind the speed sign. Ralph Coleman photo

The BNSF Ry. has three speed boards here at Vancouver, Wash., for
Talgo, other passenger, and freight trains. Robert S. McGonigal photo

Temporary plain yellow boards placed trackside indicate an Red boards, placed either next to track or between
approaching restricted-speed zone. Gordon Odegard photo the rails, mean stop. Gordon Odegard photo

RAILROADS, LIKE HIGHWAYS, have the Burlington Northern Santa Fe as an advance warning with another
speed limits. Curves, bridges, and photo (second above, left). The pre- style at the start of the zone itself.
other hazards may have additional fixes P and F refer to passenger and Related to permanent speed limit
speed restrictions. Speed limit signs freight trains; the additional board has signs are temporary slow order signs.
mostly have yellow backgrounds to a T for Talgo train speeds. Yellow signs or flags indicate that
differentiate them from mileposts. A resume-speed sign, following a trains are approaching a restricted-
Lines hosting both freight and passen- restricted-speed zone (such as a speed area. These indicators are
ger trains will have two numbers, with curve), will let the engineer know he generally used for temporary slow-
the higher speed indicating passenger has left the restricted zone. Some speed stretches of track, such as
trains and the lower for freights. A railroads used a plain green board on a construction areas. A green board
single-speed sign is shown in the top post; others used yellow or green with (sometimes with an R for “Resume”)
right photo. “R” or “RS” for resume speed. marks the end of the restricted-speed
Sometimes separate signboards are Use of speed limit signs also varied. area. Red boards mean stop and
used on the same post, as shown in Some railroads used one style of sign indicate track that’s out of service.

34 SCENERY & STRUCTURE PROJECTS

 LOCATIONS AND BOUNDARIES
EVERY STATION LOCATION listed in a
timetable is marked by a sign. In many
cases, especially through the steam
era, this was done by signboards on
depots. However, at places without a
depot, the station location is indicated
by a signboard on a post or posts.
Yard limit signs are placed along
main lines where operation under Rule
93, the yard limit rule, is to begin.
(Contrary to expectations, Rule 93
applies to main tracks and not to yards.
Within yard limits, trains and engines The V-shaped yard limit sign may be
may use main tracks without respect the most recognizable version. Gordon
to the schedules of other than first- Odegard photo
class trains but must give way when
other trains approach.) Yard limit signs
are sometimes oval or rectangular, but
in steam days V-shaped and triangular
signs were also common.
Signs are used to indicate upcom-
ing stations, yard limits, and junctions,
usually at the one-mile point. The sign
in the photo at right warns crews that
they’re 500 feet from the fouling point
of a junction switch. Boundaries of
control blocks, signal blocks, and other
signal boundaries require signs.
Signs were also used to aid crews
working near a station or yard, to give This small sign to the right of the This sign, a mile away from a yard limit
crews guidelines in switching, or to let milepost marks the distance to the board, warns engineers to approach
them know when they were clear of a fouling point of a junction switch. the yard limit with their trains under
station, crossing, or other point. Donald Sims photo control. Gordon Odegard photo

WARNING SIGNS

Bridge approaches often feature a collection of warning signs, as at the St. Just in front of and below the yard
Louis-San Francisco’s Mississippi River bridge at Memphis, Tenn. The bridge has limit sign stands a V-shaped flanger
a 10 mph speed limit. James G. La Vake photo post. Gordon Odegard photo

MANY LINESIDE SIGNS deal with trestles and at bridges with wood background) on a post. They let flanger
safety, warnings, and cautions. The decks). Other warning signs can be operators know to raise their blades
photo above shows a collection of seen on other photos in this article. for an obstruction between the tracks,
them at a bridge approach – always a A type of warning sign that often such as a grade crossing.
good location for warning signs. The goes unnoticed is the flanger post. Other common warnings include
photo shows “no trespassing,” These can be found in many styles, but clearance signs of various types, which
“danger: keep off,” and “no smoking” they most often have a black angle or can be found on structures and
signs (which are often located at V (to be better seen against a snowy bridges, as well as on signposts. S&SP

www.ModelRailroader.com 35
MAKE REALISTIC-
LOOKING BUILDINGS
FROM PHOTOS
AND PLASTIC
Print photos and
styrene trim combine
to form credible
foreground structures

BY PAUL J. DOLKOS
PHOTOS BY THE AUTHOR

>> WITH SO MANY DETAILED plastic

structures now available to model rail-
roaders, you might wonder who would
consider building a structure using paper
these days. Maybe as a mock-up, but
hardly as a permanent building, right?
Well, don’t be so quick to relegate pulp
products to the shredder.
hanks to reinements in paper prod-
ucts and construction techniques, it’s
never been easier to assemble paper
buildings that include as much detail as
commercial plastic structures. Today,
using digital photography, photo-editing
sotware, and inexpensive home printers,
we can design and build realistic paper-
based buildings that challenge even the
most discerning eyes.
Although I initially intended to com-
bine digital photos on a sheet of card-
board to make a background building
lat with recessed windows, there was no
reason why I couldn’t use the technique
to make photo-veneer foreground build-
ings. Some may think of the photo-
veneer building as a cop-out to modeling
a dimensional structure, but photos
introduce a look that’s virtually impossi-
ble to capture on traditional models.
My technique captures window
glass color and relections, curtains
and blinds, subtle coloring and weather-
ing of masonry, and seldom modeled
details like address numbers, mailboxes,
and electrical conduits – all with mini-
mal efort.

Without reservation, Paul Dolkos

placed paper structures enhanced
with plastic trim at the front and
center of his well-detailed urban scene
on his HO scale Baltimore Harbor
district layout.

www.ModelRailroader.com 37
 STEP 1 CAPTURING AND SIZING IMAGES
Assembled photo-veneer structures
Additional photo-veneer background
structures

Street ascends 2" to intersect roadway

Structure bases elevated to street level

Layout tabletop

These assembled photo-veneer row houses line a street with a gradual grade. Accordingly, Paul adjusted the height of
each facade to follow the slope of the street. The background structures are flats that don’t need additional side walls.

THE FIRST STEP in constructing a photo-veneer structure is possible with taller structures, but some distortion can be
to capture suitable building photos. In some instances, this corrected in the photo-editing process. Ideally, the perfect
can be the most challenging part of the process. First, you’ll camera angle is centered not only horizontally, but verti-
need to find a structure where the facade is not obscured cally too. For instance, the best place to shoot a five-story
by trees, vehicles, or other large obstructions. Next, it must building is from a location two and a half stories high.
be properly lit. Some sunlight is fine, but a cloudy or If there’s a clear view of the subject from a distance, try
partially cloudy day is better for minimizing distracting using a longer focal length camera lens setting to elimi-
shadows, particularly those that appear in deep doorways. nate some distortion. Don’t worry about making your
There’s no need to use anything more than a basic photo perfect, as many incongruities just aren’t noticeable
point-and-shoot digital camera for these shots – even a in the resulting structure.
smartphone camera that provides sharp, high-resolution Using photo-editing software, virtually anything can be
images will do. In fact, some modelers, including Model altered, deleted, or even created using elements from
Railroader author Lance Mindheim, simply use Street View various images. Fortunately, that much effort typically isn’t
images culled from Google Maps as the basis for some required. I work with images that require only minor
structures. Similarly, there are commercial photo offerings tweaks – nothing more than an offending tree branch or a
that eliminate the need to take your own photos. portion of a sign needs to be fixed. My tool of choice is
Level and position the camera perpendicular to the Adobe Photoshop Elements, as it offers a wide range of
facade to minimize perspective distortion. This may not be capabilities, many of them automated.

38 SCENERY & STRUCTURE PROJECTS

 STEP 2 PRINTING IMAGES
WHEN IT COMES to printing facades, I’ve been most
satisfied using plain white bond paper. This durable
writing paper has no sheen and provides moderate
image saturation. These characteristics help my paper
structures blend with the adjacent plastic models
viewed under the same fluorescent lighting. Although
photo-grade paper will produce a sharper printout, the
heavier stock makes it harder to obscure thicker raw
paper edges at corners or wherever two pieces join. If
you do use photo paper, be sure to adjust the printer
settings to produce the optimum quality image.
In addition to reproducing a higher quality image,
heavier stock photo paper makes it possible to add
shallow relief by cutting door and window openings in
a print and simply inserting a second print underneath,
without the need for a layer of cardstock between
them. To model stucco or rough cement exterior
finishes, also consider using textured papers that are
compatible with your printer.
The inkjet printer I use produces water-soluble
images. An errant spray of water while adding scenery
can quickly cause image colors to run or bleed. To
protect facades, I overspray my printouts with Krylon
no. 41311 matte finish. Test any protective finish first,
Paul captured digital images of Baltimore row houses as some may cause image color to shift. Another
and printed them on contact sheets to expedite the option is to print out images using a color laser printer
selection process. Samples of printed and trimmed or photocopy an inkjet printout using a color copier.
facade photos are also shown. Although they aren’t
required here, side view photos are also needed to model
multi-sided structures.
PAPER STRUCTURES FOR SALE
THERE ARE COMMERCIAL OFFERINGS that range from
complete building images to collections of surfaces
such as brick, cinder block, or roofing materials. This
eliminates the need to find suitable structures to
photograph. Here’s a partial list of manufacturers.
As with nearly anything printed on paper, there is
the possibility that a photo-based structure could fade
or discolor over an extended period. However, in most
cases the effects of prolonged exposure to direct light
isn’t any worse than the dulling that comes from a
moderate accumulation of dust.

CLEVER MODELS, www.clevermodels.net

Before arriving at this preferred arrangement, Paul first Sells N, HO, S, and O scale structure kits printed on
test-fit various printouts to determine which facades cardstock and exterior surface texture sheets. The
would best fill the allotted horizontal and vertical space. website offers tips and instructions for building
When necessary, he resized and reprinted specific these types of models.
facades to fit the space.
EVAN DESIGNS, www.modeltrainsoftware.com
Once it’s refined, the image must be sized for printing. Offers software packages to design your own
Calculating a scale print size may be difficult due to the structures and some sample structure images that can
varying sizes of the original. To keep the printouts be built-up.
uniform in size, I measure front entry doors and window
openings and adjust the printer’s output percentage until MICRO-MARK, www.micromark.com
I obtain the desired dimensions. I’ve found it’s best to Has a line of self-adhesive building paper that
have images printed slightly smaller than scale to help includes factory brick and details, cinder block, random
form a forced perspective. stone, and shingles. All are offered in HO and O scales.

www.ModelRailroader.com 39
 STEP 3 ASSEMBLE THE STRUCTURE CORE

After taping the facade image to illustration board, Paul Paul removed the remaining image before using a hobby
used a hobby knife and metal straightedge to cut door knife to cut out the openings previously scribed on the
and window openings from the printout. front wall section.

Paul used a small brush to apply touch-up paint along the To construct the core assembly, Paul added side walls
raw edges of the openings and attached an identical made from illustration board and installed internal
image to the back side of the wall. bracing to prevent warping.

PHOTO-VENEER BUILDINGS require a core assembly to with cutouts. However, a glue stick is probably the best
support the structure and provide a surface to attach option to avoid the mess and the possibility of smudging
images. You can use styrene, wood, and sheets of other the ink on an image. Spray adhesive is another option, but
typical construction materials, but I find .040" to .060" I’d rather not worry about controlling the overspray or
thick illustration board is the best option. The board issues related to incompatibility with the paper or ink.
should be heavy enough to resist bending, but not so After gluing the cut-out image to the front, I completed
thick that it’s a chore to cut out structural openings. the wall section by adding an identical uncut image to the
After selecting illustration board of the appropriate back. I worked carefully to make sure I aligned the
thickness, I used cellophane tape to temporarily secure printout with the wall openings.
the images to the wall sections. Next, I used a sharp To complete the core assembly, I used white glue to
hobby knife (no. 11 blade) and a metal straightedge to cut attach illustration board sidewalls to the facade wall
along the door and window openings on the image. If you section. After allowing the glue to dry, I added an adjoin-
intend to use the structure in a background scene, this ing facade section. When adding a new facade section,
step isn’t necessary. I used a hobby knife to bevel the adjoining edges so one
Cutting the image while it’s attached to the board facade overlaps the other. At corners, as well as along
leaves an outline for cutting the thick board material. After door and window openings, I’ve used touch-up paint,
removing the photo cutouts and the remaining image colored pencils, and pastels to cover any exposed edges
from the board, I used a hobby knife and various blade of the illustration board.
types to cut out wall openings following the scribed lines. After assembling the structure, I installed wood strips to
I’ve typically used a thin coat of plain white glue to reinforce the interior corner joints and additional illustration
secure the printed facade to the front side of a wall section board to help prevent the side walls from warping.

40 SCENERY & STRUCTURE PROJECTS

STEP 4 PERFECTING PLASTIC

The first floor of this row house is retail space.

Unfortunately, the storefront was obscured by harsh
shadows in the photo, so Paul constructed the lower
facade from styrene components.

To model the protruding cornice on this building, Paul

combined Grandt Line castings, styrene strips, and a
printed photo of the etched detail.

ON MANY PHOTO-VENEER structures, recessing the door

and window openings is all that’s needed to produce a
visually satisfying model. But in some cases, especially
where shadows or a flaw that can’t be fixed detract from
the photo, I’ve enhanced facades by adding cornice trim,
retail store windows, and entrances formed from plastic.
In many cases just combining varying sizes of
styrene strips provides enough trim detail. For more
complex items, castings such as cornices or structural
components offered by Grandt Line and Tichy Train
Group can be used in conjunction with styrene strips,
sheets, columns, and tubing.
With or without this additional plastic trim, I’ve found
that contemporary products, materials, and techniques
help produce realistic paper structures that are worthy Paul’s completed row houses stand just inches from
of placement at the front and center of my layout. S&SP the front edge of his layout. But even at close range,
it’s hard to identify their paper and plastic origin.
You can quickly add realistic fields along your roads and rights-of-way like those shown here, simply by using a static
grass applicator and several common scenery materials.

MODEL REALISTIC
TALL GRASS
Using multiple scenery techniques to make convincing fields and prairies

BY PETER ROSS • PHOTOS BY THE AUTHOR

>> MUCH OF THE PART of New Zea- On the same principle as a rubbed I irst learned about the technique
land’s South Island where I live has low comb picking up bits of paper or a from a friend who had read about build-
rainfall, hot dry summers, and grassy balloon rubbed on a sweater sticking to ing a static grass applicator in D. Derek
plains. A large part of the land is grazed the ceiling, static grass requires a special Verner’s article “Zap texturing for foli-
or cultivated, except around railway applicator to give ibers an electric age” from the September 1980 Model
rights-of-way and roadsides where the charge before releasing them onto the Railroader. In the article, Verner had
grass can be very thick and dry. But how scenery. his charge of static electricity harnessed the static charge from a
could I model those wild grassy sur- makes the ibers stand on end, and when Wimshurst machine [his is a type of
roundings convincingly? Static grass was applied to a bed of wet glue, the ibers electrostatic generator oten built for
my answer. stick in place upright. science projects. – Ed.] He used this
42 SCENERY & STRUCTURE PROJECTS
machine to get the locking to stand on ings. With 20/20 hindsight I realized
end, achieving realistic grass and foliage it would have been better to set the
efects. My friend designed his own ver- buildings in place later, but since
sion of the Verner applicator, substitut- I hadn’t, I had to igure out a way to work
ing some electronics for the Wimshurst around them.
machine to get the required charge. One solution was to cover the struc-
Since then, Noch and several other com- tures and roads with loose-itting card-
panies have produced battery-powered board. Ater working with the grass for a
static grass applicators. See fig. 1. bit, I discovered that I could drape damp
paper towels over these objects. his
STARTING WITH SHORT GRASS worked a lot better because the damp
When I started experimenting with paper trapped the unwanted lock. his Fig. 1 Applicator. Though Peter and
the zap-texturing technique, my irst technique also proved to be efective for his friends built their own static grass
challenge was to ind a suitable locking masking along fence lines, especially in applicator, ready-made applicators are
material. Several scenery manufacturers places where I wanted to make the grass available from several manufacturers,
make static grass. I chose Woodland shorter and greener on the grazed side of including the Noch Gras-Master
Scenics static grass lock. the fence. shown above.
I knew pastures of short grass would
be the easiest to make, so that’s where LONGER GRASSES When I irst tried to put additional
I started practicing the technique on my Ater my initial scenery tests, I was coats of static grass down, there was one
layout. I painted an area of the scenery a pleased with the general results, but practical difficulty. I needed to spray on
light brownish green and then set to I wasn’t quite there yet. hough the more matte medium before each new
work applying static grass. shorter grass looked great for pastures coat of ibers to get them to stick together.
To begin, I put some static grass in and grazed ields, I needed taller grass However, when using a misting bottle to
the applicator, spiked the ground wire in places where the prairie had been let spray the adhesive, little droplets always
into the general working area, and then undisturbed. Ater more experiments, came out, making pock marks wherever
sprayed the ground with adhesive (dilute modeling long grasses proved remark- they hit.
matte medium) where the grass would ably easy. In looking for a better solution,
be applied. I then turned on the applica- One of the great things about the I turned to my airbrush. I set the air
tor and, as shown in fig. 2, brought its static applicator is that you can apply pressure as low as it would go and still
mouth to within about 1 ⁄2" of the wet sur- multiple coats of static grass. he Wood- function (about 3 to 4 psi) so as to mini-
face. Next, I gently shook the applicator land Scenics ibers are just over 1 ⁄16" tall, mize the blast of air. I then illed the air-
and out came the grass in a steady, even but I made some areas with grass more brush paint jar with dilute matte medi-
stream. Soon I had a nice lush pasture. than 1 ⁄4" tall in places. How did I do this? um (mixed 1:1 with water plus a drop of
Before applying static grass to more he static charge not only makes the dish soap), set the proper spray pattern,
of my scenery, I irst had to solve the ibers stand up, it also makes them stick and had no more problems. In fact, there
problem of applying the locking close to each other almost end on end. You was an added beneit – the misty spray
to buildings, fences, and roads without can create amazingly tall stalks all from dulled the unnatural sparkle from the
making them as grassy as the surround- 1 ⁄16"-long segments. grass ibers.

Damp paper towel keeps

Static applicator fibers off structure

Ground wire
clipped to pin

Pin stuck in scenery Charged grass fibers stand on end in wet matte medium

Fig. 2 Applying grass. After clipping the static applicator’s ground wire to the scenery close to the work area, hold the
static gun about 1 ⁄2" from the surface and gently shake the grass fibers into the adhesive.

www.ModelRailroader.com 43
 Apply new layer of static
Airbrush set to 3 or 4 psi grass over first layer while
matt medium is still wet

Mist matte medium New grass fibers

onto existing grass layer attach to ends of
first layer

Matte medium diluted

1:1 with water and one
drop of dish soap

Fig. 3 Layering the grass. After using an airbrush to mist the existing grass with matte medium, Peter applies another
layer of static grass. These fibers attach to the ends of the earlier grass, making taller blades.

base. Next, I applied the Wild Honey fol-

lowed by a layer of Light Green. he inal
coat was Harvest Gold, which warmed
things up nicely.
If I put on too much Harvest Gold,
I added a touch of Wild Honey ibers to
adjust the color. In a few places I put
more Medium Green into the mix, just
for variety. I think it worked out really
well, especially for making a rolling
efect – the depressions are greener than
the drier crests, so I added the medium-
green grass to the low places.

ADDED TOUCHES
Partway through the process, I exper-
imented with chopping up bits of Wood-
Fig. 4 Finished grass. To finish the fields, Peter sprayed the static grass with land Scenics ield grass and putting them
one final coat of diluted matte medium and then sprinkled in various shades of in the static applicator. he ield grass
fine turf to represent seed pods, weed leaves, and wildflowers. worked in exactly the same way, stand-
ing up nicely as individual ibers. I con-
As shown in fig. 3, ater applying the correct length, my only remaining prob- tinued to add coats of regular static grass
initial layer of grass and letting it dry, lem was getting the right color. over them; the ield grass formed the
I airbrushed matte medium over it from he Woodland Scenics line has no stem of stalky plants.
a distance of at least 12". I then zapped color that resembles that burnt-dry-in- Once I was satisied with the way
on another coat of static grass, let it dry, the-sun-and-wind grass I was looking the grasses looked, I sprayed the area
applied more matte medium, and so on. for. he irm’s Wild Honey color is too with a inal coat of matte medium to
I found it best to work in 1-square-foot pale and pinkish, and Harvest Gold is dull the gloss of the lock ibers. While
areas at a time. Depending on tempera- too gold. Apart from those two warm- the matte medium was still tacky, I scat-
ture and humidity, it can be difficult to tone colors, Woodland Scenics ofers tered on several shades of Woodland
get through much more before the matte only various shades of green. Scenics turf to represent weeds, seed
medium loses its tackiness. My answer was to apply a sequence of heads, and wild lowers. See fig. 4 for
By alternating between two areas colors of lock. hough I never quite the inished ield.
I could work continuously while still achieved the rich, tawny gold of mid- I’m very pleased with my grassy ields,
allowing time for the adhesive to dry summer grasses I was hoping for, I did and the techniques I developed with
sufficiently before the next coat. get a credible look for early summer or my good friends Geof Elmsly, Barry
fall. When applying the layers of static Fitzgerald, and Lawrence Boul are easy
CREATING REALISTIC COLORS grass ibers, I used a diferent color lock to use and produce good results. Soon,
Now that I had a good technique for virtually every coat. I started with you can have tall, lush prairies on your
established for making grasses the Woodland Scenics Medium Green as the layout, too. S&SP
44 SCENERY & STRUCTURE PROJECTS
3 CLEVER IDEAS
FOR DETAILING
STRUCTURE MODELS
Digital photographs, cement, and metal parts provide many useful textures

BY LANCE MINDHEIM • PHOTOS BY THE AUTHOR

Doors made from photographs

Conduits made from etched-metal rods Loading dock cast from anchor cement

Lance Mindheim blends digital photos

>> STYRENE IS MY MATERIAL of choice the recess of its mortar lines. his shal- and prototype materials with
for structure modeling. It’s readily avail- low relief is difficult for manufacturers to traditional modeling methods to get
able in a variety of shapes, glues easily, produce accurately, and most plastic outstanding results.
and accepts paint well. But eventually castings tend to have oversize blocks.
we have to make the styrene look like Industrial steel doors (both roll-up models. Styrene still serves as the struc-
the wood, steel, or concrete it’s supposed and personnel types) are another exam- ture’s base material. For low relief ele-
to represent by matching the color ple of shallow-relief elements that can be ments, such as masonry foundations and
and texture. tricky to model efectively. Injection steel roll-up doors, I use digital photo-
Some common building materials are molding can’t reproduce lines that are graphs judiciously reworked with photo-
difficult to reproduce convincingly. he ine enough, and these oversize details editing sotware and mounted on a stif
color might be hard to match, the shape ultimately tip of the viewers that they’re backing material. To simulate concrete
might not lend itself well to injection looking at a model. parts, I use actual concrete. For steel
molding, or the texture may be difficult In other cases, it’s the color and tex- posts and galvanized metal conduits,
to model. For example, concrete block is ture that pose the challenge more than I use small diameter, unpainted steel and
an extremely common form of masonry the shape of the object being modeled. aluminum tubing instead of painted sty-
construction that’s tricky to model con- Concrete and metal products (such as rene shapes.
vincingly. Viewed from a distance, as columns and posts) are two examples. I recently completed the two
shown in fig. 1, these walls take on a Rather than trying to make painted plas- HO scale modern steel warehouses
sophisticated mix of colors. In addition, tic look like something it’s not, let’s look shown above using this composite
this type of wall is what I call a shallow- at some alternatives. technique. hese techniques will also
relief element because there’s so little Recently, I’ve been using a combina- work in other scales and on other types
depth between the face of the block and tion of three methods to detail structure of structures.
www.ModelRailroader.com 45
 Concrete block foundation Downspout made from metal rod
made from photographs

The styrene walls and roof in this

warehouse are complemented by
digital photos of doors and foundation
walls, and metal rods for downspouts.

CONCRETE BLOCK WALLS

One of the most common building
materials is the 8" x 8" x 16" concrete
block. Whether used to construct the
foundation or the building as a whole,
you’ll ind them everywhere. However,
the concrete block walls can be tricky to
model, as the mortar groove between the
blocks is only about 1 ⁄8" deep, which in
HO is only .0001".
Compounding the problem is the fact
Fig. 1 Initial image. Here’s a good starting image, but it has some fairly that concrete blocks weather to distinct
pronounced perspective and distortion problems that need to be fixed on the color patterns and are oten covered with
computer as explained in “An intro to digital photo editing” on page 48. graffiti. Fortunately, the relief in block
walls is so shallow we can get away with
using a photo in lieu of embossed or
injection-molded styrene. he digital
image captures all the natural colors and
avoids the dead giveaway of out-of-scale
moldings. A photo, like the one in fig. 2,
also allows me to make subtle correc-
tions with a photo-editing program on
my personal computer, and I can even
add my own graffiti. Unlike using an
airbrush, the photo editing programs
Fig. 2 Squared image. In this view Lance squared the wall by correcting for the have an “undo” button. All it takes is a
barrel effect and perspective distortion. Copying and pasting plain images of little time to go out and take some
adjacent blocks covers the undesirable pipe, shrubs, and weeds. digital photos of a prototype wall. hen
use photo-editing sotware to clean up
and resize the images, print them out,
trim to size, and glue the photographic
details on the model.
he irst step is to ind and photo-
graph some block walls. I try to ind
Fig. 3 Partial image. Here Lance “harvested” one section of the initial image examples with subtle but interesting
that he can copy as any times as needed to stitch together with other images to weathering and graffiti. Over time I’ve
make a longer wall. A little editing conceals the repetitive images. collected a large ile of wall images and
46 SCENERY & STRUCTURE PROJECTS
stored them on my computer for future
use. Just be careful that you take the
photo with the sun to your back. Get as
far back as you can from your subject to
minimize the perspective efects and try
to shoot perpendicular to the wall. Don’t
worry if the photo isn’t perfect – that’s
what photo-editing programs are for.
Also, use the camera’s larger ile size set-
tings to get crisper images.
Unless you’re really lucky, you’ll proba-
bly have occasional wires, weeds, and
other unwanted objects in your photo.
he next step is to remove these items
from your image. Because concrete blocks
are so uniform in shape, it’s easy to copy
an unblemished block, or group of blocks, Fig. 4 Trimming the image. A sharp no. 11 blade makes it easy for Lance to
to paste over any area you don’t want. [See trim the printed photo images to size. Then he conceals the edges of the images
“An intro to digital photo editing” on the using a black marker before gluing them onto the aluminum foundation bars.
next page. – Ed.] Arc Sot’s Photo Studio,
the program I use, has a cloning tool that
allows you to point to an area you want to
copy and then repeatedly paste the copied
area over a blemish until it’s completely
covered. [Arc Sot no longer supports
Photo Studio, but you can ind other
image-editing sotware online, some of it
free, by searching “digital photo editing
sotware.” – Ed.]
As your image starts coming together,
you can add artistic enhancements. Rust
streaks are easy to apply using the pen
tool to draw a narrow, rust-colored verti-
cal line. Follow up with a smudge tool to
smear the line downward. You can also
use the “spray can” tool to make your
own graffiti. If you don’t like the looks of
your results at any point, you can always
just hit the undo key and start over.
I oten end up with a wall section
that’s too short for the length of my
structure. Photo Studio has a “stitch” Fig. 5 A stable base. Lance constructed a stable base for each warehouse from
tool that lets you import two images, like vinyl board framed with 3 ⁄4" aluminum bars. Then he mounted the photographs
fig. 3, onto your screen and then stitch of the foundation with contact cement, which doesn’t deteriorate over time.
them together. For example, if your wall
section is only 3" long, just stitch a few of
those images together to create a 9" wall.
Under close inspection, you may see sub-
tle repetitive patterns in the stitched
image. If this occurs, you can go back
later and do some blending to hide obvi-
ous details and break up the patterns so
they aren’t noticeable.
Once I’m satisied with the image,
I print it out on matte photo paper. For
best results, I set the printer to its maxi-
Gasket
mum dots per inch (dpi) and use the
photographic ink cartridge if applicable.
You can use the normal concrete block
dimensions as a guide to make sure
you’re printing the image out to exact
scale. Since a block is 8" tall, six vertical Fig. 6 Steel dock door. This prototype door photo on the left was Lance’s
blocks in your photo should measure starting point. He used photo-editing software to resize and crop the image.
4 feet tall on your scale rule. Then he added a door gasket across the bottom from the photo on the right.

www.ModelRailroader.com 47
 I allow the image to dry and then lay
AN INTRO TO DIGITAL PHOTO EDITING it on a hard, smooth surface such as plate
glass or steel, and trim it with a new,
GOOD RESULTS can be achieved with inexpensive or free photo-editing sharp blade in a hobby knife. See fig. 4
programs. The two I use are the software that came with my camera (Photo on the previous page. his produces a
Studio 4.0 by Arc Soft, which is no longer supported) and Photo Brush by clean cut edge. hen I run a black marker
Media Chance. Each has some unique features, so I’ll typically work back along the edges of the photo to hide the
and forth between them. white paper edges.
The initial image will likely be skewed, have some perspective, and have
a curved upper surface caused by the barrel effect. Photo Brush allows you MOUNTING THE PHOTO
to rotate the image in tenths of a degree and has barrel effect and perspec- Finally, I attach the photo to a stable
tive correction. You can crop the section that interests you, but make the base, as in fig. 5, with an adhesive that
image slightly larger than you need. Then trim the image to fit. won’t break down over time. For founda-
tions I use ¾" strips of aluminum bar
A few basic techniques will get most computer users through the initial (purchased at a home improvement cen-
digital photo-editing process: ter) for the base and contact cement for
1. Square up the image with your photo editor using the barrel and the adhesive. For larger walls I use thick
perspective correction tools. styrene as the base. I clean the surface
2. Crop the photo down to the actual portion of the image you want. with alcohol and carefully position the
3. Fix blemishes (like guy wires) by using the system’s clone tools. photo using bits of masking tape as hinges
4. Add artistic enhancements, including additional graffiti and rust or dirt along the top edge. Next, I apply contact
streaks applied with your editor’s clone, spray can, pen, and smudge tools. cement, being careful to keep it of the
5. Combine several images to make longer walls using a “stitch” tool. printed surface of the photo. Ater the
6. Finally, print the image to the desired scale size on matte-finish speciied drying time, I press the photo
photo paper. into place and remove the masking tape.
Contact cement only gives you one
Following are some helpful basic photo editing tools: shot, so I make sure I have the photo
Clone. This tool duplicates one part of your image to another part of the lined up accurately. On longer walls,
image. Some software refers to this function as Copy-paste. I oten have a seam or two where the
Stitch. This command merges two or more images. photos butt against one another. I add
Barrel correction. A distortion associated with wide angle (or minimal small bushes, downspouts, electrical
zoom) lenses that causes the images to appear spherical (curved outward). conduits, plumbing, weeds, and similar
It’s most noticeable in straight edges near the side of an image. Most digital items to hide these seams.
and compact film cameras suffer from this type of distortion, especially if
they have a zoom lens, and the photographer stands too close to the STEEL DOORS
subject. Barrel correction compensates for this effect. Steel roll-up freight doors and person-
Perspective correction. The perspective correction tool allows you to nel doors are other elements that can be
straighten out a distortion where vertical lines slope inward on the subject a challenge to model using traditional
in relation to the frame. In most photo editors this is done by positioning methods. Here again, the relief between
handles over the image which allow you to stretch the image until it’s panels tends to be shallow and the metal
straight. – L.M. coloring and weathering of the panels
can be subtle. As with concrete block
walls, the judicious use of photographs,
as seen in fig. 6, and a basic digital
photo-editing program can yield con-
vincing doors on a scale model.
Using photographs for doors is a rela-
tively simple process. For roll-up doors,
I start with an open door frame casting.
For my modern structures I like to use
Pikestuf’s 12 x 12-foot open freight doors
(part no. 1112). hen all I do is produce a
photograph slightly larger than the frame,
attach it to a .060" styrene panel, and glue
it behind the door frame. See fig. 7.
As before, I start with a crisp photo of
the door I’d like to use. I’ve made a habit
of photographing and storing images of
interesting subjects. In each case, I try to
be squarely in front of each subject when
I take the photo. Even if this isn’t possi-
Fig. 7 Dock door installation. Once the door images are printed to size, Lance ble, I can correct the image later.
trims each one and glues it to a piece of .060" styrene slightly larger than the Once I have a properly sized image of
door frame. Then he glues the doors in place behind the frames. the door, I add details, starting with a
48 SCENERY & STRUCTURE PROJECTS
rubber weather strip gasket across the
bottom. All it took was one good photo-
graph of a gasket, like the one in fig. 6
on page 47, and I was able to cut and
paste it on the bottom of all of my doors,
as in fig. 7, opposite.
Graffiti is easy to add using the sot-
ware’s spray can tool. When I apply graf-
iti, I keep the lines relatively thin and on
the lower portion of the doors. I remove
any blemishes with the cloning tool.
For personnel doors I start with a
one-piece molded-plastic door and frame
casting, such as those made by Pikestuf, Fig. 8 Personnel door. The prototype image on the left is Lance’s starting
Grandt Line, and Tichy Train Group. point. Once he cleaned up the image, he printed the photo, trimmed it, and glued
Next, I make a photograph that matches it over the plastic door casting. Notice the push-button security lock.
the exact size of the door. hen I scrape
of any details on the plastic door like
doorknobs, carefully trim the photo to
it the doorway, and glue it place on top
of the plastic door, as shown in fig. 8.

CONCRETE SLABS AND PLATFORMS

Most masonry block foundations are
capped with poured concrete loors and
exterior loading platforms. What better
way to capture the color and texture of
concrete than to use the real thing? While
concrete is too coarse and gritty for mod-
eling purposes, a related product, anchor
bolt cement, its the bill perfectly. I use the
Sakrete brand sold by he Home Depot
stores in a 20-pound pail.
Anchor bolt cement is similar to con-
crete but has a much iner texture, mak-
ing it ideal for modeling. I explained how
to use anchor bolt cement to model con-
crete structures in the August 2007 Model
Railroader. It’s a relatively easy process.
he drawing and photo in fig. 9
show a simple mold I made from two
pieces of aluminum angle and styrene. Texture sheet, vacuum-formed
Sides, 1" aluminum angle styrene glued to inner mold face.
I mix the cement with water and pour it (length to suit project)
into the mold. Although the cement sets End blocks,
in about 30 minutes, I allow the thin .100" square
casting to harden for 24 hours to achieve styrene strip
its maximum cure strength before I open
the mold. his reduces the chances of
breaking the cured casting during inal
inishing and installation on the model.
hough the aluminum form worked
ine as is, I added one more step to incor-
porate the form lines seen on large slabs.
I cut a strip of styrene the same size as one Base, .060"
face of the form and scribed lines across it styrene sheet
a scale 10 feet apart. hen I glued this sty- Loading dock mold
rene “texture strip” onto the form’s face.
See fig. 10 on the next page. Before
closing the form, I wipe a light coat of
WD-40 oil on each face to make removal
of the inished casting easier.
Because this particular casting was rel- Fig. 9 Concrete slab. Lance pours the cement slabs for his loading docks in a
atively thin, I gave extra attention to get- simple mold made from aluminum angles and styrene. Once he finishes a mold,
ting air bubbles out of the wet cement and he can cast slabs of anchor bolt cement with it on 24-hour intervals.

www.ModelRailroader.com 49
 door openers, power heads, and security
lighting. To capture the oxidized color of
the galvanized conduits, I use 1 ⁄32" K&S
aluminum rod. he raw aluminum color
of this rod is pretty close to fresh galva-
nized steel, but a little on the bright side.
To obtain a slightly darker, oxidized, and
more realistic appearance, I chemically
etch each piece of rod with printed-circuit
board etchant. It only takes a couple of
short dips in this strong chemical to get
the subtle efect I want.
Safety Note: RadioShack
no. 2761535 etchant solution is a hazard-
ous chemical for making printed-circuit
boards. It contains ferric chloride, harm-
ful if swallowed, and can cause severe
chemical burns on unprotected skin.
Wear proper eye protection, rubber
Fig. 10 Cement loading dock. Here’s one of Lance’s finished castings after he gloves, and a rubber apron. Keep this
removed it from the mold, smoothed its edges, and glued the dock in place on product out of the reach of children.
the structure’s foundation. Once dry, he adds weathering with thin stains. To etch the aluminum, I begin by
lightly sanding the smooth rod with 600-
grit sandpaper to give it a rough texture.
hen I clean the rod by wiping it down
with lacquer thinner. Next, I place a por-
celain container of water next to the bottle
of etchant. I dip a long section of rod into
the etchant bottle for about 10 seconds,
hold it in the air for a second or two to let
the oxidation work, and then I quickly dip
it in the water to stop the chemical reac-
tion. Sometimes I repeat the process two
or three times to obtain the color and tex-
ture I’m looking for.
Many industrial structures have door-
way awnings supported by 4" or 6" steel
pipe columns. In HO scale, these columns
are roughly .046" and .069" in diameter,
so I simulate them with K&S .045" and
.070" music wire. his steel wire has the
Fig. 11 Etched details. The items shown above include .055" steel music wire perfect dark metallic color that matches
that Lance painted, chipped, and etched; 1 ⁄32" aluminum rod with light etching; the prototype pipe, so I only need to
and .025" music wire etched and allowed to rust naturally. Eye protection and add the peeling paint efect.
proper safety precautions are necessary to safely handle the hazardous ferric I spray-paint the rod, allow it to dry,
chloride etchant solution he uses to speed up the natural weathering process. and then come back later and simulate
peeling paint by randomly sticking bits
forcing it to the bottom of the mold. To ral gas lines. Fortunately the colors and of duct tape to the painted pipe. Ater
do this, I held a vibrating sander against textures of these diferent metals are easy briskly pulling the tape of, I dip the rod
the mold for a few moments right ater to reproduce. in the etchant for four or ive seconds
I poured the cement. Ater the casting set I’ve found it’s easier to use steel rods and then quickly immerse it in water.
for 24 hours, I gently peeled back the and metal tubing to represent these pipes Finally, I dry and trim the wire to it
mold to release the part. If the slab breaks, than trying to paint styrene parts to rep- under an awning and cement it in place
I glue it back together with gel-type cya- resent this material. By using metal parts with CA to complete a convincing col-
noacrylate adhesive (CA). hen I glue the and speeding up mother nature’s oxida- umn with peeling paint.
completed slab on top of the building’s tion and rusting processes, I’ve been able As modelers, we sometimes do things
foundation to simulate the dock loor. to reproduce convincing metal details. in ways that are far more difficult than
However, capturing the grayish look necessary. Rather than trying to make
METAL POSTS AND CONDUITS of galvanized metal conduits and steel our trusty styrene stand in for every
A typical warehouse, particularly a support posts with peeling paint proved kind of prototype building material,
more modern one, frequently has all to be somewhat challenging. Take a look I hope these examples show you that
sorts of exposed metal ittings including at the examples in fig. 11. there are easier and more convincing
steel pipe columns that support awnings, Galvanized steel electrical conduits are ways to model some of the common ele-
galvanized electrical conduits, and natu- commonly mounted on buildings to serve ments that appear in our structures. S&SP
50 SCENERY & STRUCTURE PROJECTS
HOW TO MODEL
STREETS AND
HIGHWAYS
Add realism to your
layout by giving the
vehicles on it some
accurate roads

BY PELLE SØEBORG
PHOTOS BY THE AUTHOR

>> IN MY OPINION, streets and highways

are the second most important things on
a model railroad layout ater track. Streets and highways can be an important part of a model railroad. In this
When modeled properly, roads can be article, Pelle Søeborg shares his techniques for modeling them.
used to add realism, create viewing lines,
and divide scenes. street are important scenic cues that I prefer to inish my streets and high-
My old HO scale Union Paciic Dan- give Daneville the look of a city in the ways completely before I apply any scen-
eville Subdivision was covered with American West. ery materials. hen I don’t have to worry
roads. he widest road was Main Street hen there are highways. One goes about getting the scenery dirty with
in Daneville. he three-lane street was over the track and creates a great scene sanding dust or spilling paint on it.
nearly 14 feet long. Some people divider. Highway 41 parallels the main I have a passion for streets and high-
couldn’t understand why I devoted that line for more than 22 feet before crossing ways. Whether they’re paved, dirt, or
much space to a street instead of adding the track and fades of into the distance. simple trails, I’ve followed roads on all
more track. he explanation is simple. I also modeled service roads that parallel my railfanning adventures. I can’t imag-
he restaurants and hotels lining the almost every inch of mainline track. ine a model railroad without roads.
www.ModelRailroader.com 51
 STEP 1 A SOLID BASE
⁄ " medium density fiberboard
14 Attach roadbed to these risers first

Secure with glue and wood screws

Secure base
of ramp with
screws

TO GET AN IDEA of how the highway would look, I cut I HAD TO RAISE the subroadbed to the height of the
pieces of cardboard and taped them together. Once I was overpass at the west end of Daneville (see the December
happy with the look of the road, I used the cardboard as a 2011 Model Railroader to learn more). I made the risers
template for the 1 ⁄4" medium-density fiberboard (MDF) from scrap pieces of MDF. First, I attached the subroad-
subroadbed. I attached the subroadbed with wood glue bed to the riser closest to the bridge. After the glue dried,
and screws. It’s a good idea to wear a respirator and work I applied glue to the rest of the risers and pressed the
in a well-ventilated area when cutting MDF. It generates a subroadbed down. I fastened the opposite end of the
lot of dust when cut. ramp to the layout with screws.

Foam insulation board

Ramp

Riser
Road surface must be
MDF level with rails
Cut in road surface
where it meets
track roadbed
Roadbed for track

THOUGH I USED MDF for most of the project, I used a piece I USE CORK ROADBED under my secondary tracks. This
of extruded-foam insulation board for the ramp at the material is thinner than the roadbed I use on my main line,
highway 41 junction. It was easier to cut and shape the so I had to trim the MDF at the grade crossings to keep the
foam than laminate and taper pieces of MDF. After cutting road surface level with the rails. I made fillet-like cuts in
the foam with a serrated knife, I marked the outside edges the MDF with a sharp no. 11 blade, though a retractable
of the road with a marker. These marks served as my utility knife would also work. Making several light passes
guide for applying the Paving Tape, shown in Step 2. reduces the chances of the blade slipping.

STEP 2 PAVING THE WAY

Paving Tape

Paving Tape

Highway is 24- to
26-scale feet wide .040" styrene strip

I USED WOODLAND SCENICS Paving Tape for the streets I USED A SLIGHTLY DIFFERENT approach on the streets. On
and highways. I first applied the tape to the outside edges the side closest to the backdrop, where the businesses are
of the area I wanted to fill with the same firm’s Smooth-It. located, I used latex construction adhesive to attach strips
I made the highways 24- to 26-scale-feet wide, which is of .040" styrene strip. I’ll attach the sidewalks to the
close to prototypical width. Though the highways eat up styrene strips when I install the businesses. I used the
space, they look better than roads that are too narrow. paving tape on the opposite side of the street.

52 SCENERY & STRUCTURE PROJECTS

STEP 2 PAVING THE WAY (CONT’D)

Wet Smooth-It .080" styrene screed

Stir Smooth-It until
lumps are removed Stick makes it easy to
guide plaster when
pouring
Paving Tape

WITH THE STYRENE STRIP and Paving Tape in place, I THEN USED A SCRAP piece of .080" styrene as a screed to
I mixed a batch of Smooth-It in a bowl. I stirred the plaster level the wet plaster. After I’d spread the first layer evenly
material carefully until it was free of lumps. Don’t stir the and let it set up, I poured a second, thinner layer of
Smooth-It too vigorously, though, as this will create air Smooth-It. I used a putty knife to clean up any excess
bubbles, which will be nearly impossible to remove. Smooth-It before it dried.

STEP 3 SMOOTHING AND PATCHING

Wet area around
air bubbles

Hand-held sander Smooth plaster

with styrene

Keep sander moving

Fill holes with plaster

I LET THE PLASTER DRY completely (about two days) SOMETIMES SANDING REVEALS small holes caused by air
before I removed the Paving Tape. Then I used an electric bubbles (remember the part about not stirring too
sander to smooth the surface. I learned that you have to vigorously?) To repair these holes, I first wet the area. This
keep the sander moving constantly to avoid damaging the prevents the dry plaster from soaking the moisture out of
plaster. If you’re not comfortable using an oscillating the fresh wet material. Then I filled the holes with a little
sander, a sanding block with 400-grit sandpaper will also plaster and smoothed the repairs with a piece of styrene.
work. No matter which sander you choose, don’t use After the plaster dried, I lightly sanded the patches to
coarse sandpaper, as it will leave gouges in the Smooth-It. blend them in.

Make cut with

back of blade

Hobby knife

Steel rule

Groove

I TRIMMED THE ROADS at the grade crossings to make ON THE STREETS, I used the back edge of a hobby knife to
sure the BLMA modern grade crossing panels would fit. cut a shallow groove 1 ⁄8" from the edge where the side-
This is best done before painting the plaster. First, I used a walks will be. The groove simulates a concrete curb.
pencil to mark the width of the panels. Then I used a sharp A steel straightedge works great for cutting grooves
hobby knife to cut the plaster, using a steel rule to get a parallel to the future sidewalk. You’ll want to use a circle
straight line. I checked the spacing with one of the panels, template or a food container lid as a guide for the curved
and trimmed off more plaster if the fit was too tight. sections of curb.

www.ModelRailroader.com 53
 STEP 4 PAINTING AND ROAD MARKINGS

Mask curbs
Apply enamel
paint with brush

Custom-mixed
Apply paint parallel to road concrete color

YOU CAN PAINT the Smooth-It with acrylics or enamel got a single coat. In many cases a less uniform finish
paints, but I find the latter soak into the surface better and looks more realistic.
dry flatter. I painted the highway and streets a warm gray For the streets, I masked the outside edge of the curbs
color made by mixing equal parts Humbrol Gull Gray and and brush-painted these areas with a concrete color that
Radome Tan. For new pavement, I applied at least three I mixed from equal parts Model Master Flat Gull Gray,
coats. Older pavement received two, and very old roads Sand, and Flat White.

Masking tape

Crosswalks

Stop line Cardboard template

Plate glass

I LET THE PAINT DRY thoroughly (24 hours, or until there TO ENSURE ALL of the turn arrows were identical, I made a
was no discernible odor) before applying the road template from a piece of cardboard. I traced the outline of
markings. For the streets, I started by adding the white the arrow on a piece of masking tape, as shown in the
stop lines and pedestrian crossings. I masked these areas photo at right.
and burnished the edges of the tape with my fingernails to Then I cut the masking tape with a sharp no. 11 blade,
prevent paint from bleeding under it. You can find the carefully following the outline. It’s best to do the cutting
dimensions for pavement markings in the Manual on on a hard surface, like a piece of plate glass, so the knife
Uniform Traffic Control Devices (mutcd.fhwa.dot.gov). blade doesn’t tear the masking tape.

Make cutting tem-

plate for “X” and Rs

Paint turn arrows white

Paint stripes yellow

AFTER I APPLIED THE MASKS for the turn arrows and the I ALSO USED TEMPLATES to cut masks for the railroad
rest of the road stripes, I brush-painted the markings with crossing markings. I marked the “X” on the pavement
Humbrol paint. I painted the arrows white and the stripes with a pencil and masked along the outside edges. I cut
yellow or white, following information in the Manual on the two Rs on the plate glass I used for the turn arrows.
Uniform Traffic Control Devices. As with the road color, I later learned that Summit Customcuts released decals
you can make the stripes look old or new depending on for highway markings. You can learn more about the
how many coats of paint you apply. decals at www.summit-customcuts.com.

54 SCENERY & STRUCTURE PROJECTS

STEP 4 PAINTING AND ROAD MARKINGS (CONT’D)

White stripe at
road’s edge

Double-yellow for
no passing zones
Pull tape back and away from stripes

THE HIGHWAY STRIPING isn’t as complex. I started by BE CAREFUL WHEN REMOVING the masking tape so it
masking the double yellow center line and painting it with doesn’t lift the gray paint. I found it works best to slowly
one coat of Humbrol Yellow. Then I masked the stripe pull the tape back and away. You can minimize the
along the edge and painted it with one coat of white. likelihood of exposing the white plaster by tinting the
Neither color covered evenly, but it looked realistic to me. Smooth-It with gray acrylic paint.

STEP 5 WEATHERING AND DETAILS

Sponge
Airbrush

Black powdered
pastels down center
of each lane
Sand

THE LAST STEP was to weather the streets and roads and NEXT, I USED AN AIRBRUSH to apply a light coat of Model
add details like guard rails and highway signs. I started by Master Sand to the edges of the highway. Make sure the
using a cosmetic applicator sponge to apply black room is ventilated and your wear proper safety equipment
powdered pastels down the center of each lane. Don’t during this step.
apply too much powder, though. I wiped the sponge on a The Sand color helps blend the shoulders of the road
sheet of paper after I dipped it in the pastels. It isn’t with the surrounding desert scenery. If you don’t model
necessary to seal the pastels, as the powder sticks well to the desert southwest, replace Sand with a color more
the porous road surface. appropriate to the area you’re modeling.

Thinned dark gray

Paintbrush

Rix guardrails

Patched cracks

I LATER GOT INSPIRED by a photo I took along old Route ON SHARP CURVES, I installed Rix Products highway
66 that showed a web of patched cracks in the road. To guardrails. After assembling the plastic kit, I painted the
simulate this, I used a fine brush (the size doesn’t matter rails Model Master Light Ghost Gray, followed by a
– just pick one that looks suitable for the job) to apply dark dusting of the same firm’s Cam Gray. The latter is a lighter
gray paint that I thinned 50 percent with thinner. This gray that gives the guardrails a weathered look.
effect looks best on older, secondary roads. Newer roads I installed the guardrails before adding the scenery, as
would have fewer patched cracks. it’s easier to drill holes on an unscenicked surface. S&SP

www.ModelRailroader.com 55
FIGURE
>> ADDING SCALE PEOPLE to your lay-
out can be as simple as opening the box
and gluing them in place. Manufacturers
such as Preiser, Merten, Woodland

PAINTING Scenics, and others ofer a selection

of realistic, factory-painted plastic
igures for model railroads.
However, if you have a railroad that

101 requires a large population, it can be

more economical (and more fun) to
paint your own igures. For the examples
I’ve shown here, I’m using Dart Castings
(www.dartcastings.uk) 1:76 proportion
metal igures, as well as plastic models
from Preiser (www.preiser.com). In addi-
tion, there’s a wealth of unpainted plastic
and metal castings from other manufac-
turers in various scales.
You don’t need a lot of tools and
materials to get started painting your
own igures. As for painting supplies,
good quality red sable brushes in no. 3
and no. 3/0 sizes are all that’s initially
required. Chances are you already have
an assortment of acrylic model paints on
hand, but if you don’t, about a dozen
basic colors, including white, black, and
skin tones, are what you need to begin.
How to prepare and paint plastic and metal figure As you hone your igure-painting skills,
you can add other paint colors and
castings for model railroads brushes. You’ll also need a hobby knife
and small jeweler’s ile or two.
Figure painting can be an enjoyable
BY DAVID POPP hobby all its own. he best part is that
PHOTOS BY JIM FORBES my igures don’t look like everyone else’s.

FIGURE PREPARATION
THOUGH YOU MAY WANT TO START painting figures as soon stick for this step. To level the feet of metal figures, I use a
as you take them out of the package, you need to do some flat file. When filing feet, metal or plastic, be very gentle to
cleanup work on the castings first. Almost all castings will avoid bending the figure’s legs or snapping off its feet.
have seam lines where the parts of the mold fit together. I use Kneadatite (a two-part epoxy putty from Polymeric
Seam lines and flash (leftover molding bits) must be Systems) to fill gaps in the figure or add missing details.
carefully removed. I use several tools for this project, includ- I apply the putty to the figure with a hobby knife, and
ing a hobby knife, rounded needle files, and a sanding stick. then I let the putty dry overnight before I file or carve it.
This is also the time to level a figure’s feet so it will stand Next, I wash the castings in warm water with a little dish
up properly. If it’s a plastic figure, I use a fine-grit sanding soap to remove any oils and let the figures dry.

Seam line removed New hand

Use a needle file to remove any visible To use the Kneadatite epoxy putty, You can use the epoxy putty to replace
molding seams. Otherwise they’ll mix equal parts of the two colors. missing details, such as this man’s left
show through the paint. When it turns green, it’s ready to use. hand on the broomstick.

56 SCENERY & STRUCTURE PROJECTS

 MOUNTING AND PRIMING
ONCE THE CASTINGS HAVE BEEN WASHED, they need to be Don’t skip applying a coat of primer to the figures before
mounted to a handle so you can hold them while painting. painting them. Paint, whether organic-solvent-based or
Some figures, such as the plastic HO scale Preiser figures acrylic, will chip off plastic and metal parts easily without it.
shown at left, come attached to a sprue, which makes a I use Rust-Oleum Gray Automobile Primer for metal and
good handle. When finished with a figure, clip it off the plastic figures. It’s inexpensive, dries quickly, and provides a
sprue. Don’t forget to touch up the top of its head. good working surface for acrylic paints.
I typically work on about a dozen figures or so at the After the primer coat is dry, place your figures in a safe
same time, so I’ve taken to mounting individual figures on place, such as a box with foam padding, until you’re ready
strips of foam core board. I cut the strips ¾" wide and 4" to to paint. The important thing to remember is that once the
6" long. This allows me to mount four to six figures per figures are coated with primer, you don’t want to touch
strip. I cement the figures to the foam core with white glue. them. The oils from your fingers will disrupt paint adhesion.

Several figures per strip

Sprue

Foam core strip

Some figures come on sprues, such as If figures are individual castings, Applying a primer to figures is a must.
these Prieser HO scale figures, making mount them to a stick or strip of foam Paint will chip away easily from
them easy to hold and paint. core, making them easier to hold. castings that are not primed.

STARTING WITH SKIN TONES

AT LAST, IT’S TIME TO PAINT! I use acrylic hobby paints As shown in the center photo, I’ve applied a basic
because they are water soluble, making them easy to work skin-tone paint to the face and hands of the engineer. To
with. I’ve painted figures for more than 25 years, so I have a give the face more detail, and to keep the skin from appear-
lot of paint in many colors from various manufacturers. ing as one solid color, I next apply a wash of reddish-brown
When painting figures, I like to use the “in to out” paint over the skin tone. The wash can be anywhere from a
technique. As shown in the left-hand photo, you start by 50/50 mix of paint and water to hardly any paint at all. The
painting the details that are deepest into the surface of the more paint you use in the wash, the ruddier the complexion.
figure casting and work your way out along the layers of For women and children, I use very little red, as they
clothing and details. This means that most figures will start generally have fairer skin. The red wash is also good for
with the skin around the face, chest, arms, and legs. Though hands, as it brings out the detail of individual fingers. I let
the hands are at the extremities, I like to do those at the the wash dry before continuing.
same time. It also means that you don’t need to be all that On darker-skinned figures, such as African-Americans,
careful in the early stages of painting, since the outer edges I start with a deeper skin tone as a base coat and then use a
of your work will be covered by the next layer of paint. much darker red-brown wash, as seen at right.

Wash made with paint Darker skin tone base coat

diluted with water Deep red-brown wash

Skin first
No. 3/0 brush
Shirt second

Vest third

Pants will be next

David uses the “in to out” technique, Apply a reddish-brown wash to the For darker skin tones, start with a
painting the innermost parts of the skin color to bring out facial features darker base coat and apply a deeper
figure and working outward in layers. and individual fingers on hands. red-brown wash to the skin.

www.ModelRailroader.com 57
 LIGHT-COLORED CLOTHING
IT’S POSSIBLE TO PAINT hundreds of figures in solid colors under a strong lamp, so I can see where the shadows occur
and never be happy with the finished work. The key to naturally. I then fill them in with paint accordingly.
adding realism is to include highlights and shadows. The Finally, I use a lighter shade than my base coat to add
three-step process below shows how to achieve that result highlights to the fabric. In this case I used pure white.
with three shades of paint. This method works best for light- I drybrush the highlights sparingly.
colored clothes, such as white shirts. Drybrushing involves dipping the tip of the brush into the
I start by painting white shirts with a solid coat of an off paint, wiping most of it off on a piece of cardstock or paper
white, such as ivory. Once that base coat has dried, I paint towel, and then lightly applying the remaining paint to the
the shadow areas a slightly darker shade of off white. The high spots on the figure. I use the highlight color to bring
color shouldn’t be too dark to make it look like the shirt has out the crease in the folds in the clothing, as well as any
stripes. The color I’ve used in my example is a light shade of broad, flat surfaces that would receive a lot of light. You can
taupe. I use the folds and creases sculpted into the figure as do the same thing with other light or bright colors, such
my guide to placing shadows. Sometimes I’ll hold the figure as yellow.

STEP 1 STEP 2 STEP 3

White shirt Light gray White
base coat shadows highlights
of ivory

To paint light objects, start with a base Next, fill in the shadows with a darker Finally, drybrush the highlights using
coat of the middle tone. In this case, shade of off-white paint. On the white a color that is lighter than the base
David used an ivory color. shirt, David used a light taupe. color, like the pure white shown here.

SHADING DARK CLOTHING WITH WASHES

YOU CAN EASILY BRING OUT DETAILS in a figure’s clothing same technique for the man’s jacket.) After the wash dried,
by using washes (applications of diluted paint). When I highlighted the overalls, as explained on the next page.
applied to a figure, the wash’s pigment gathers in recesses, Because washes are thinned paint, they tend to spread to
such as the folds of clothing, providing a contrast to the other parts of your work. Using small brushes to apply
base color. Washes are effective for dark blues, grays, a wash provides more control over where it goes. Excess
browns, and even black. Washes also work great for wash can be removed from the figure by touching the liquid
creating leather effects, such as coats, boots, and bags. with a dry paintbrush.
For this example, I’ll use the blue overalls on a trainman The second thing to keep in mind is that you want to
figure, shown below. I started by painting the overalls a maintain a wet surface until you have the wash completely
solid medium blue, as shown in step 1. Once the paint dried, in place. If the wash dries in an area before you finish
I mixed a wash of 1 part dark blue paint to 1 part water and applying it, the pigment will tend to collect along the
flowed the diluted color over the base coat, as shown in edge of the wash. In this case, you’ll need to do a bit of
step 2. The finished result is shown in step 3. (I used the touch-up work.

STEP 1 STEP 2 STEP 3

Medium blue Dark blue wash
Highlights
base coat added

As shown with these blue overalls, Next, make a wash of a darker shade Finally, drybrush the overalls with the
begin by painting the item with a solid of blue and carefully apply it over the original medium-blue color to bring
color, in this case, a medium blue. base color with a small brush. out the clothing’s highlights.

58 SCENERY & STRUCTURE PROJECTS

 ADDING HIGHLIGHTS AND DETAILS
EVEN THE LIGHTEST WASHES will darken a figure’s base color to produce a slightly lighter shade of gray. I then
coat, so you’ll need to lighten the areas that would be applied this color to the highlight areas.
natural highlights. There are several ways to do this, When adding highlights, don’t forget that there can be
depending on the original base color. For the blue overalls flat-area highlights (places without pronounced creases and
in the last example, the wash I used was very dark. As a seams) to paint as well. In the middle photo, I’ve applied
result, I could use my original base-coat blue as the high- highlights to the man’s pants and vest.
light. Using the same drybrushing technique from the shirt
example, I added the blue highlights to the figure’s pants. A LITTLE EXTRA DETAIL goes a long way to making figures
However, for the example figures shown here, their gray look the part. Both workmen in the right-hand photo have
base coat was dark to begin with. Using the same dark gray brass buttons on their vests, brass badges on their caps,
color for the highlights after I’d applied the darker wash and blue neckties. While these details are just hinted at in
wouldn’t make much difference. In this case, as shown in the castings, painting them on the figures makes them look
the left-hand photo, I added a hint of white to the original all the more realistic.

Dark gray (base color) Light gray

with a touch of white

The highlight color for these figures Area highlights are important too, Simple details, such as the brass
comes from the base color with a hint such as those found on the pants and buttons, hat badges, and neckties
of white added to it. vest of this figure. shown here, add a lot to a figure.

EYES AND FACIAL DETAILS

BECAUSE SCALE FIGURE EYES are so small, they are the While the 5-step eye process works great for large scale
hardest feature to paint. I don’t bother painting eyes on HO figures, I use an abbreviated version for smaller figures. On
scale figures or smaller. Even with very fine brushes, eyes the 1:76 figures shown in the right photo, I skipped the
on small figures are much too large, so I let the skin wash eyelid step. The brims of the figures’ hats make it difficult to
darken the eyes instead. However, for larger figures, eyes paint eyelids, but from a normal viewing angle, the lack of
can be a very important detail. that feature isn’t visible. In the photos shown here, you’re
The steps I use to paint eyes and finish the facial features seeing the figures much more closely than you do on the
on larger figures are shown below on five 1:23.5 heads. layout. Though their eyes appear too large here (because
I used a fine-point 10/0 paintbrush for this task. Be espe- they are), they look fine when viewed in the model scene.
cially careful that the pupils (step 2) are applied evenly for One more thing you can do with washes and details:
both eyes, so that the gaze of the figure isn’t cross-eyed Note that the man on the left has a 5 o’clock shadow. You
(or worse). You can cover a lot of sins by making a figure can make this by applying a dark brown wash to the beard
look slightly to the left or right, but not straight ahead. area of a figure’s face. S&SP

STEP 1 STEP 2 STEP 3 STEP 4 STEP 5 5 o’clock

Whites Pupils Underline eyes Add eyelid using Add hair and shadow
with skin color darker skin color highlights added with
a wash

These 1:23.5-proportion heads show the eye process from start to finish. Start These finished 1:76-proportion figures
by applying the whites, then draw the pupils as straight lines of color. Next, have simplified eyes. The 5 o’clock
underline the eyes with the skin color, then use a darker shade for the eyelid. shadow is a brown wash.

www.ModelRailroader.com 59
MAKING REALISTIC
SUMMER TREES

Trees add new interest to GO Tower on the HO scale Milwaukee, Racine & Troy, Model Railroader’s staff layout.

Do-it-yourself tree kits enhance this junction scene

BY CARL SWANSON • PHOTOS BY CODY GRIVNO

>> ON OUR HO SCALE staf layout, the Milwaukee, Racine &

Troy RR, the Wisconsin Central crosses the MR&T main west STEP 1 A BOX OF TREES
of GO Tower, an interchange that leads to a sneak-of tucked
behind a hill. It’s one of my favorite places on the “Myrt,” A SUPERTREES HO starter kit (no. EX0220) contains 15
but it bothered me that the scenery here looked more like the to 18 tree armatures in the form of dried plants from
grassy hills of Wyoming than the forested slopes of Wisconsin. Scandinavia. Given the kit’s suggested retail price of
I decided a grove of trees would add Badger State authenticity $44.98, the per-tree cost works out to just over $2. But
to the scene. there’s a catch – some assembly is required.
Most of the trees in southeastern Wisconsin and northern Usually when I open any kit, I discover I lack a
Illinois, the territory served by the MR&T, are broad-leaf hard- crucial material or tool to get the job done. That wasn’t
woods like maples, oaks, and ash. If our railroad had ventured the case here. In addition to the tree armatures, the
a little farther north, the forests would be dominated by coni- starter kit included illustrated instructions, two quart-
fers like white pine, hemlock, and spruce. size shakers of coarse ground foam, seven packets of
hat’s not to say that there aren’t subtle diferences among fine ground foam in a wide range of summer and
southern Wisconsin’s woody residents. In any grove of trees, autumn shades, two boxes of Noch Leaf Flake Flock, a
some are brighter green than others, and quite a range of sizes spray bottle, matte medium, four self-closing tweezers,
is represented. I needed model trees that would look generally and a set of plastic trays.
uniform, while allowing a little size and color leeway. The only other items
But what tree to use? here are many diferent trees on the I needed were a container to
market in both ready-made and kit form. Over the years, the mix the matte medium, a
MR staf has used most of them, and usually with good results. clothesline, clothespins,
Located at nearly eye-level and immediately next to an aisle, dishwashing detergent,
GO Tower is the kind of in-your-face location that demands paint, a drill, and white glue.
inely detailed trees. Poly iber puf balls weren’t going to cut Once I’d gathered these
it here! items, I was ready to make a
Instead, I used a SuperTrees starter kit from Scenic Express, shady glade for the MR&T.
www.scenicexpress.com.
60 SCENERY & STRUCTURE PROJECTS
STEP 2 PREPPING THE TRUNK

THE TREE ARMATURES are clumps of dried shrubbery added. I let them soak for about a minute, then I clipped
that you snap apart to form tree shapes. This is an easy them to a clothesline to dry.
process since the plant material is quite brittle. As the top Some of the trees in my starter kit were curled. As the
photo shows, there are bits of leaves amid the branches. photo at far right shows, these can be straightened by
Some I could pinch off; others I needed to slice off with a suspending weights (the self-closing tweezers here) from
sharp hobby knife. the trees as they hang to dry.
When I was done cleaning and shaping the armatures, The light tan of the branches looks nothing like a tree
I soaked them (middle) in a solution of 1 part concentrated trunk, so a little painting will be necessary before we can
matte medium to 7 parts water, with a capful of dish soap add the foliage.

STEP 3 PAINT, PAINT, AND MORE PAINT

AROUND HERE, tree trunks aren’t brown. Gray, with a
dusting of black, seemed close enough for us. Associate
editor Cody Grivno volunteered to airbrush the trees.
Using Polly Scale acrylics, Cody started with a coat of
no. 414176 Union Pacific Harbor Mist Gray mixed 6 parts
of paint to 4 parts of 70 percent isopropyl alcohol. He then
dusted on no. 414110 Steam Power Black mixed 2 parts of
paint to 8 parts of alcohol. [Polly Scale paints have been
discontinued. See “Hobby Paint Roundup” in the March
2014 Model Railroader for other paint sources. – Ed.]
The result looked a little ashen to us, so Cody warmed
it up a bit with no. 414352 Light Freight Car Red, also
mixed 2 parts of paint to 8 parts of alcohol.

STEP 4 TURNING OVER A NEW LEAF

THE SUPERTREES kit contains a variety of foliage colors.
Some of them are suitable only for autumn, but there
were plenty of shades of green for the MR&T’s endless
summer. [For tips on modeling an autumn scene using
SuperTrees, see Model Railroader Video Plus producer
David Popp’s Step by Step column in the November 2005
MR. – Ed.]
This part of the project was fun. With lots of tree
armatures and a range of different flocking material,
I tried several different effects before settling on a
combination that was pleasing to my eye.
I started by dipping the trees once again in the diluted
matte medium, then I sprinkled on the foliage, using the
plastic trays to catch the excess. I thought the coarse
Scenic Express Flock and Turf ground foam gave the
trees a suitably dense look, but it also made them look a

www.ModelRailroader.com 61
 STEP 4 TURNING OVER A NEW LEAF (CONT’D)
little too clumpy on close inspection. I switched to fine foam insulation board. Although I’d dipped only the
ground foam, which better preserved the branch struc- branches in the diluted matte medium, the entire plant
ture’s naturally airy appearance. quickly became saturated thanks to capillary action.
When the sun shines on a tree, the outer leaves are Cody’s careful multi-coat paint job rubbed off when
very bright green, while the leaves on the shaded I poked the trees into the stiff foam board.
branches look nearly black. I modeled this effect by Making SuperTrees was pretty easy. Telling Cody he
sprinkling on dark green, letting the tree dry, then had to repaint all those trees? Now that was difficult!
re-dipping the tree and dusting it with a brighter shade While Cody went to work painting tree trunks for
of green. the second time, I finished the last few trees. This
I had my best results using medium green Noch Leaf time I wisely hung them on the clothesline shown on
Flake as a base coat with a top coat of light green. the previous page to dry overnight, with tweezers
Then I had the not-so-bright idea of letting the trees hanging from the tree tops to keep the armatures
dry by poking the trunks into a scrap piece of extruded from curling.

STEP 5 A FOREST FOR THE PLANTING

PLANTING OUR FOREST went swiftly. We added some Some of my trees were more successful than others.
of the dark green Flock and Turf to soften the edge where I planted my favorites at the front and used the ugly
the hill meets the painted backdrop, then began planting ducklings as background.
our trees. As shown in the photo, I set the trees in place, rotated
Armed with an electric drill with an 1 ⁄8" bit, I drilled a them to face their best side toward the aisle, then used
series of holes along the hillside and the wedge of land the self-closing tweezers and clothespins to hold the
between the WC and MR&T tracks. I staggered the holes trees upright for a few hours while the glue dried.
to avoid the appearance of orchard-like rows, dipped the With its new grove of trees, GO Tower has never
trunk ends in white glue, and set them in place. looked better. S&SP

62 SCENERY & STRUCTURE PROJECTS

SCRATCHBUILD
AN ABANDONED
BARN

A photo of a collapsing, partly burned barn Horst Meier found on the internet was the inspiration for the scratchbuilt wood
barn seen above. Horst shares techniques for assembling and weathering wood structures.

Weathered stripwood and peeling paint give a building history

BY HORST MEIER • PHOTOS BY THE AUTHOR

>> SOMETIMES, A PARTICULAR spot on Such projects are easier than they look,
your layout will call for a structure that and the materials cost very little. I built LIST OF MATERIALS
just isn’t available in the usual catalogs. my model in HO scale, but with diferent
You may want to ill that empty corner sizes of stripwood, you could build yours Stripwood
with something you won’t see on any in another scale. I’m not providing a plan 1 ⁄8" square (or HO scale 10 x 10)

other layout, but you’d also like it to be for this barn because you’ll want to model 5 ⁄64" x 1 ⁄8" (or HO scale 6 x 10)

easy to build. a building that its the era, location, and 1 ⁄32" x 5 ⁄64" (or HO scale 3 x 6)

Perhaps a building from your own size of your own layout. My idea is to Thin wood veneer strips
neighborhood would it the bill, like an show you how easy it is to scratchbuild a
old barn or a shanty, maybe a bit dam- wood structure for yourself. Miscellaneous
aged or run down. I found my inspiration It’s a nice feeling to create a structure White glue
on the internet, a photo of an old barn in that stands out as unique next to the Thinned dark wood stain
El Dorado County, Calif. he building other, more recognizable ones on your Dark red latex paint
was half burned out, rather tumbledown, layout. Models like this are an eye-catcher Gouache (watercolor), various
and with just a trace of paint. his gave for every visitor, oten prompting the colors
the building character and prompted me question: “Which catalog did you ind Weathering powders
to scratchbuild it from stripwood. this in?”
www.ModelRailroader.com 63
 STEP 1 BASIC FRAMEWORK AND RAFTERS
FIRST, stain all the wood. I use thinned wood stain from
my local hardware store. I mix it three parts black to one
part of a not-too-reddish brown stain, such as walnut,
then dilute the stain about 10:1 with thinner. It’s better to
mix your stain light, as you can always apply another coat
if the wood doesn’t get dark enough. [You can also use a
commercial weathering solution from a manufacturer
such as A-West, AIM Products from Monroe Models, or
Micro-Mark, or mix your own from 1 part India ink and
10 parts isopropyl alcohol. – Ed.]
The basic framework for my barn went together
quickly using scale 10 x 10 stripwood. Use full-strength
white glue to assemble the framework for each wall on a
flat surface. After allowing the wall sub-assemblies to
dry, assemble them to form a three-dimensional frame-
work. Add diagonal bracing to strengthen the corners and
keep them square. You can then extend the footprint of
the basic rectangle with lean-tos and sheds.
Using a square-edged file, notch the scale 6 x 10
rafters where they will rest on the ridge beam and the
lower joists. The photo to the right shows how I did this.
Then glue them in place with undiluted white glue.

STEP 2 SIDING AND ROOF

I USED THIN WOOD veneer, cut into strips, for the barn’s white glue to the basic framework at manageable
siding. Stain this material before cutting and gluing, just intervals and set the wall planks in place with tweezers,
like the framework. Cut the veneer into strips of varying as shown in the left-hand photo.
widths from scale 3" to 12" using a sharp hobby knife, Make the longitudinal roof stringers from thinner wood
then cut them to length. Mix up your siding planks well, than the rafters. For these I used scale 3 x 6 stripwood.
so that as you apply them to the framework, you’ll get a Spring-loaded metal hair clips make handy clamps to hold
realistic variation of width, grain, and stain color. Apply the stringers while the glue dries, as shown at right.

STEP 3 A TRACE OF RED

OTHER THAN THE desolate condition of the front of the
barn, another thing I liked was the red paint job on one
end, started at some point but never finished. To reflect
the peeling, faded paint on the model, I used latex-based
wall paint, custom-mixed in small sample-sized bottles.
After loading the brush, I wiped it off on a paper towel
before using it. I didn’t wipe the brush off as much as
I would when drybrushing. The trick is to apply enough
paint to hint at a cover layer, as shown in the photo.

64 SCENERY & STRUCTURE PROJECTS

STEP 4 FIRE!

IF YOU’RE PLEASED with your barn at this stage, you can distance under the broken ends of the lumber. If you hold
stop now. But to represent the damaged prototype, I took the flame at the right distance, the wood will change
some more destructive measures. color without burning. But if the stripwood does catch
Using small flat-nosed pliers, I broke off parts of the fire, blow it out at once!
stringers in the open part of the roof, as well as some of After the structure was sufficiently damaged, I applied
the beams, supports, and planks. This doesn’t take a lot styrene corrugated metal roofing to the intact roof
of force. It’s sufficient just to bend the thin strips. I then rafters with cyanoacrylate adhesive (CA). I painted
glued a separately constructed tilted side wall to the it black and weathered it by drybrushing it with rust-
broken side beams. colored gouache, commonly known as watercolor
Signs of the fire responsible for the dilapidated paint. I later added a pile of weathered roofing and
condition of the barn can’t be easily imitated using paint. broken wood to the floor of the barn after installing
Instead, I passed a lit cigarette lighter to and fro at a safe it on the layout.

STEP 5 WEATHERING

LAST OF ALL, I GAVE my ruined barn signs of age and the very carefully and sparingly using a little sienna-
effects of weather. Near the ground, the color of the colored gouache.
wood darkens, an effect you can imitate with wood stain In the same way, I simulated patches of moss and
or weathering powders. mildew near the ground using green paint and weather-
On the other hand, the top parts of the walls that ing powder. This can be lighter or heaver, depending on
are sheltered by the roof overhang don’t get as much how old the barn is and how much grass is growing
sun or rain as the rest. Therefore, these parts retain some around it. A scattering of ground foam likewise simulates
of the original color of the wood. I colored these areas moss growing on the roof. S&SP

www.ModelRailroader.com 65
Boston & Maine 2-8-0
Consolidation no. 2360 leads a
local across a deep ravine in New
Hampshire’s White Mountains. It’s
heading for Bristol on Tom
Oxnard’s Boston & Maine layout.

HOW TO BUILD A

DEEP ROCKY
 An impressive scenic
feature greets visitors

BY THOMAS OXNARD
PHOTOS BY THE AUTHOR

>> AS MY RETIREMENT APPROACHED,

I realized I was going to need a new proj-
ect to work on for my layout. At the time
my New Hampshire Division of the
Boston & Maine RR was in the dreaded
state of being nearly inished and I’d run
out of real estate in my basement. (See
“Modeling the main line of the Minute-
men” in the December 2009 Model Rail-
roader.) I’d already replaced most of the
early structures with better ones built
from cratsman kits, scratchbuilt many
others, and redone much of the scenery
to higher standards.
Participation in a recent National
Model Railroad Association regional
convention and operating on a number
of layouts inspired me to ind more real
estate to expand my layout. All it took
was moving a freezer and tearing down a
small wall to clear the way for an 8-foot
extension of my shortest peninsula. his
addition proved to be a major improve-
ment, and it gave me a wider aisle.

PLANNING GOALS
I wanted an impressive scene visitors
would encounter as soon as they entered
the train room. In particular, I was look-
ing for a river lowing through a deep
rocky ravine with a mountain behind it.
My plan was to have a two-span deck
girder bridge in the middle of the scene
to carry trains across the ravine. he
view up the river beyond the bridge
would lead the eye to a pair of New
England-style mill buildings scratchbuilt
from wood.
For the mountains, I had to think in
terms of the available cubic space from
side to side, from the track to the rear
wall, and how high they could go. he
ultimate height was determined by how
steep I wanted to make the front slope.
My mill building was only a foot from
the wall, so I reduced the overall height
of the mountains to 20", which is about a

RAVINE
foot below the ceiling. his reduced the
angle of the slope for more realism.
he ravine starts at a 52" elevation
and descends 11" on its way down
through the scene.
Once my planning was complete, it
was time to move into the construction
phase, which follows step-by-step.
www.ModelRailroader.com 67
 STEP 1 LOCATION POSITIONING A DEEP RAVINE in the
benchwork is important, as it affects
how the benchwork is built. I wanted
my ravine at the end of an aisle near
the room entrance, so I was able to
locate it between the L girders in
Plywood spans the benchwork. I’ve found Linn
L girders under pier Westcott’s book How To Build Model
Railroad Benchwork (Kalmbach
Books, 1990, out of print) is an
invaluable resource that I often
refer to.
I placed my first joist 12" in from
the fascia so it could become a
reference point for the depth of the
ravine. I wanted my two-span bridge
to sit on a stone pier that was more
in keeping with typical B&M railroad
practices, and that also partially
determined the depth of the ravine.
At this time I also decided that most
New England waterfalls are much
shallower than a cascade all the
way to the floor, so I drastically
Ravine drops down
between L girders reduced this scenic feature. Instead,
I turned the course of the river into a
shallower stream that flowed from
a mill pond down to the edge of
the fascia.

STEP 2 TRACK SUPPORT I INSTALLED THE SUBROADBED as a

continuous piece of ½" thick plywood
and Homasote through the bridge
Stacked foam cut site. Then I added the necessary
for future tunnel
risers and cleats to support both
Plywood Mill mock-up
roadbed river banks and ensure perfect
cut out for alignment of the bridge approaches
bridge at each end. Finally, I made the
cuts to open up the 14" space
for the bridge in the middle of
the curve.
At this point I cut a piece of
¼" thick plywood that spanned the
tops of the L girders and formed
the bottom of my ravine. This
plywood panel is sized to support
the bridge pier and both of the
stone abutments.
I finished painting the stone pier
and matching abutments, scratch-
built the two-span deck girder
bridge, and handlaid the code 83
track through the site. Then I fit and
installed the fascia and trimmed it to
define the shape of the river bottom.
I test-fit cardboard mock-ups of
all the major structures included in
the scene and began fitting blocks of
shaped extruded-foam insulation
board for the tunnel.

68 SCENERY & STRUCTURE PROJECTS

STEP 3 STACKING THE SCENE TO SUPPORT THE SCENERY, I stacked
up roughly contoured layers of
1" and 2" thick extruded-foam
Mill pond insulation board and glued the
behind dam
pieces in place with Liquid Nails
brand Projects & Foamboard
Portal inset into adhesive no. LN-604. This adhesive
stacked foam requires some time (usually over-
night) to fully cure, and setting some
weight on top helps make the bond
more secure.
I filled in both banks of the river
up to the mill dam with additional
layers and scraps of foam that I cut
to fit – essentially creating a long
U-shaped riverbed. The 3" riverbed
widens to 7" at the fascia. I also
installed plywood foundations for
Steps in gorge the buildings around the dam.
The mill buildings and track in
that area are 2" above the dam.
Below the bridge, I was able to work
a further 3" drop into the riverbed
between the plywood edge and
the end fascia. I also had to trim
another inch out of the fascia
to lower the water level so it
matched the revised, deeper shape
of the riverbed.

STEP 4 ROCK DETAILS I CARVED THE MOUNTAINSIDES and

Hydrocal rock castings blended in all of the stacked foam
glued on mountainside corners and edges using a variety
of cutting tools as well as a wood
rasp and coarse sandpaper. At the
same time, I began making dozens
of castings using Hydrocal in various
rock molds.
Once I had made a good supply of
Hydrocal rock castings, I stained
them all with New Hampshire granite
colors I mixed from Woodland
Scenics liquid pigments including
Stone Gray, Slate Gray, and
Concrete. After they dried, I laid
all the castings out in trays so it
would be easier to see their details.
I started placing the castings
along the mountainside (top) above
the future mill building locations.
Whenever my rock combinations
looked right, I secured them with
more Liquid Nails. I then added more
rock castings along the riverbanks
(bottom), notching the banks and
trimming the castings as necessary
on a bandsaw. Once the adhesive
Rock castings blended in set overnight, I applied Sculptamold
with Sculptamold to blend the rock castings into the
Future water course foam surfaces.

www.ModelRailroader.com 69
 STEP 5 ROCKY BANKS I NARROWED THE RIVERBED to
create a steeper watercourse as
I worked upstream toward the mill
dam with the rock castings. I also
angled the faces of the individual
Town
rock castings slightly toward the
Mill mock-up aisle along both banks when looking
upstream. Next, I made rough
cardboard mock-ups of my future
Finished mill structures to help visualize the
finished scene.
Then I took a break from the rock
installation work to build and finish
Rapids some of the other details like the
stone retaining walls and the mill
dam. I scratchbuilt the large wooden
mill buildings for both river banks.
By then, the adhesive had fully
cured and the rock castings were
secure, so I moved on to filling in
any gaps between the castings with
Sculptamold. After that, I applied the
finished scenic texturing to every-
thing adjacent to the ravine.
In preparation for the next step,
I carefully checked the entire water-
course to make sure any open gaps
between the stacked foam blocks
were sealed.

STEP 6 CREATING THE RIVERBED MIXING AND POURING a plaster

riverbed that “flows” down and
around the rocks was my next step.
Regular plaster will work, but I chose
Hydrocal because it would provide
a harder surface. My riverbed is 40"
long and required far more Hydrocal
than I could work with in a single
batch. Therefore, I divided my
finishing pours over the riverbed into
12" long segments.
I let each pour set for 20 to 30
First
riverbed minutes before I began carving rock
pour Second details with a ¼" chisel. The idea was
riverbed to carve the riverbed into rocks that
pour
looked like they came off the moun-
tainside. In the process, I tried to
create channels for the water to flow
and places where it could pool.
As I carved the details, I removed
the chips with a ½" paintbrush and a
shop vacuum. I sprayed the area
with a diluted mixture of India ink
and alcohol to bring out the details.
If I wasn’t happy with the result,
I went back and carved more. By the
time I was finished, my ravine had
Third riverbed pour
five flat areas and five cascades
(waterfalls) using the tiers that were
built in during construction.

70 SCENERY & STRUCTURE PROJECTS

STEP 7 REAL DETAILS AS A FINISHING TOUCH I gathered
small stones, ¼" to ¾" in diameter,
from my gravel driveway to simulate
more of the loose debris (referred to
Mixed natural
and plaster rocks as talus) that comes off the moun-
in riverbed tainsides. I stained all of these
natural stones with diluted Model
Master Concrete paint to give them
more of a granite color. Then I placed
the stones in the riverbed and
secured them with white glue. When
the painted gravel was mixed in with
my carved plaster rocks, I found it
hard to tell them apart.
Next, I sifted some finer gravel
from the driveway into the riverbed
and secured it all with diluted white
glue. As it dries, the white glue turns
clear and disappears.
The spring thaw brings high
water to the ravines that carries all
sorts of dead branches and small
Twigs simulate debris brush that washes off the steeper
slopes. I simulated this debris with
broken bits of dry twigs gathered
from the shrubs in my yard. I glued
these into places where the branches
would probably get caught between
the rocks.

STEP 8 ADDING WATER I SIMULATED WATER with Enviro-Tex

Finished mill
buildings Lite high-gloss finish, making three
separate pours above the dam and
let them set for three days. Starting
at the top, I poured “water” below
the dam and worked it into the
outflow areas with a clean dispos-
able paintbrush.
As I poured the Enviro-Tex I could
see how far it flowed downhill until
it was stopped by the rock forma-
tions and rose in the riverbed.
I brushed the material evenly
around the other rocks and into
the side channels within each area.
Next, I poured the middle section
down by the bridge and used a fresh
disposable brush to work the
Enviro-Tex in and around these
details as before.
Before my last pour, I made a
dam using clear plastic tape along
the fascia to prevent an overflow.
Then I poured the lower end of
the stream with enough Enviro-Tex
to just reach the tape. Once it
hardened overnight, I went back and
embellished areas with simulated
Enviro-Tex falling water and filled in any empty
“water”
pools. S&SP

www.ModelRailroader.com 71
 John Pryke assembled and modified a

HOW TO BUILD A
Branchline Trains laser-cut wood kit to
serve as an interlocking tower on his
HO scale layout.

LASER-CUT
WOOD STRUCTURE
12 simple steps to construct an authentic HO scale interlocking tower

BY JOHN PRYKE • PHOTOS BY THE AUTHOR

>> IN RECENT YEARS, STRUCTURE By pairing computer sotware with Building a laser-cut kit
KITS MADE of molded plastic have precision lasers, kit manufacturers can he following photos show how
been the most commonly used and fabricate the wood parts used to form a I assembled a simple laser-cut wood
popular in the hobby. However, kits laser-cut structure. Using computer- kit. I needed an interlocking tower for
made of other materials are also avail- aided design (CAD) sotware, manufac- my main yard, so I chose the HO scale
able. Of these, wood kits are some of the turers irst develop an electronic no. 669 Ellinor Tower made by Laser-Art
most plentiful. pattern for a structure. Computer- (Branchline Trains).
he texture of the uninished wood guided lasers then use the design to his 4" x 4" x 4" tower is a model of an
components makes cratsman-style cut thin sheets of wood into the precise Atchison, Topeka & Santa Fe Ry. proto-
kits ideal for modeling wooden struc- kit parts. type, which has a large roof overhang.
tures on a layout. But these kits oten Small tabs hold the wooden parts his type of roof isn’t found on railroad
require considerable work to complete. in a carrier sheet until they’re ready structures in the eastern United States.
Builders must cut, sand, and shape for use. In some kits, manufacturers However, changing the roof was an
the raw wood to form a structure. coat one side of some parts with an opportunity to see how easily I could
Fortunately, laser-cut wood kits are adhesive covered by a protective modify the kit.
readily available for builders who like coating. When it’s time to assemble he fabrication process isn’t difficult,
the natural look and texture of wood a kit, the builder needs only to cut the so I’ll also share the techniques I used
structures but don’t have the time tabs, peel away the protective ilm to add a realistic painted inish and
or skill required to complete a covering the adhesive, and press the install details to the interior and
cratsman kit. part into place. exterior of my tower kit.
72 SCENERY & STRUCTURE PROJECTS
STEP 1 ASSEMBLE CORE STEP 2 ADD SECOND-STORY FLOORING

AFTER USING A HOBBY KNIFE to separate the parts from NEXT, I USED CA to secure the second-story floor to the
the sheet, I assembled the structure’s core. I used a steel core. I made sure the scribed side was facing up. I stained
square to align the corners. Then I applied a bead of the floor with a wash of 1 part India ink and 9 parts
gap-filling cyanoacrylate adhesive (CA) at each joint, with isopropyl alcohol. The dark coloring settled into the
a spray of CA accelerator to speed the curing time. scribing and helped make the floorboards more distinct.

STEP 3 PAINT EXTERIOR PARTS STEP 4 TRIM PARTS, REMOVE BACKING

WHILE ALLOWING the core to dry, I painted the exterior AFTER THE PAINT dried, I used my hobby knife to
parts, including the sides, windows, and trim pieces. In separate the parts from the sheets. I used a no. 11 blade
my era, the New Haven painted structures a buff color to slice through the tabs on thin sheets. On thicker sheets
with brown trim. I used a brush to paint the parts. I substituted a no. 2 chisel blade. I used needle-nose
[Prime both sides to prevent warping. – Ed.] pliers to peel the protective backing from the core parts.

STEP 5 ADD SIDES

I STARTED BY APPLYING the foundation to the core, then and pressed it into place. If a side wasn’t properly aligned,
added the sidewall above it. For peel-and-stick parts, I inserted a hobby knife between the parts and gently
I removed the backing, aligned the part over the frame, separated them, then repositioned them.

www.ModelRailroader.com 73
 STEP 6 FRAMING WINDOWS STEP 7 ADD GLAZING

TO BUILD THE WINDOWS, I made an assembly jig from USING THE POINT OF A HOBBY KNIFE to hold the glazing,
two 3" lengths of 1 ⁄16" square stripwood glued together at I could easily see through the material to align it. (I also
a 90-degree angle. I placed each window adhesive-side used the hobby knife this way to handle other window
up, so its corner fit snugly in the jig. After measuring the parts.) I then placed the glazing over the upper sash and
window, I cut plastic glazing to the appropriate size. used a paintbrush to gently press the plastic into place.

STEP 8 INSTALL SASH STEP 9 ADD WINDOW TO FRAME

NEXT, I PLACED THE LOWER SASH in the jig and used CA TO COMPLETE THE window assembly, I placed the frame
to secure glazing to it. [A clear-plastic parts cement will (adhesive side facing up) into the jig. Using the point of
also work and reduce the chance of hazing the plastic. a hobby knife again, I picked up the assembled window
– Ed.] I then removed the lower sash from the jig, and placed it in the frame so that a portion of the frame
replaced it with the window, and installed the sash. was exposed around the entire window.

STEP 10 INSTALL COMPLETED WINDOWS

TO INSTALL A COMPLETED WINDOW, I inserted the against the edge of the opening. I repeated this process to
assembly behind the appropriate opening in the structure’s install the remaining windows before installing the doors.
core. After checking the alignment of the window in the If anything wasn’t aligned properly, I used a hobby knife to
opening, I used my fingertips to gently press the window gently remove the part and re-applied it.

74 SCENERY & STRUCTURE PROJECTS

 STEP 11 ADD INTERIOR DETAILS STEP 12 MODIFY THE ROOF
Remove 4
scale feet (on
all four sides)

TO FILL THE EXPOSED TOWER INTERIOR, I made an THE TOWER KIT is based on a Santa Fe prototype with a
interlocking machine from a 1 ⁄4" square piece of wood large roof overhang, which isn’t needed in the region
with pieces of .020" wire inserted in no. 76 holes. I model. I temporarily held the roof parts in place to deter-
I cemented the assembly to the floor, painted a red knob mine how much of the overhang to remove. Removing
on each lever, and installed figures behind the machine. 9 ⁄16" from the edges gave me the look I wanted.

ADDITIONAL DETAILS
AFTER COMPLETING THE tower, I added various details and
weathering effects that gave my structure a realistic
appearance appropriate for its rail yard setting.
Weathering. Naturally occurring elements and soot often
left dark streaks on the walls. The roof also had white
streaks caused by bird droppings. To add these effects,
I applied powdered pastels using a stiff-bristle paintbrush.
Chimney. I cut four sides from a scrap brick molded sheet.
I beveled the inner edges of each side at a 45-degree angle
and glued the four sides together to form a square.
Signs. Towers often have signs with names identifying
their location on the railroad. Using a computer and
printer, I made a sign with white letters on a black back-
ground. I used Walthers Goo to cement the paper sign to
the front my tower.
Stairs. To add the external staircase, I used a pencil to trace
the outline of the outside handrail stringer against the side
of the structure. This mark provides a guide to attach the
inside stringer so that it will be aligned with the outside
stringer and the steps will be level.
Brick foundation. To finish the foundation,
I trimmed pieces of HO scale brick paper to
cover each side of the structure. I used
Walthers Goo to cement the four strips
in place. S&SP

Sign

Stairs

Brick
foundation

www.ModelRailroader.com 75
With a few detail parts and some painting, this simple kit becomes the centerpiece of a locomotive servicing facility.

HOW TO UPGRADE A BASIC

PLASTIC COAL TOWER KIT
A few easy steps spruce up this common steam-era structure

BY CODY GRIVNO • PHOTOS BY JIM FORBES AND BILL ZUBACK

>> ONE OF MY ASSIGNMENTS for our Next came the stairs. Installing them at a loss on how to rig the chains. he
HO scale Rice Harbor project layout in and the railings was easy, but I didn’t Tichy website noted that kit no. 8003 is
the January-April 2014 issues of Model have documentation on how to brace the based on a Fairbanks-Morse standard
Railroader was to upgrade the Life-Like stairs and landings. his resulted in a coal chute. I made another walk down
no. 1377 coal tower kit. On the surface, it walk down the hall to the David P. to the library. Much to my surprise
sounded like an easy project. Replace the Morgan Library, where I came across a (okay, relief), I found the Fairbanks,
thick door and window castings with 1922 sales booklet from the T.W. Snow Morse & Co. booklet Locomotive Coaling
more proportional parts, add a realistic Construction Co. that included a three- Stations. Inside this undated publication,
chute, and the project would be done. quarter view of a coal tower illustrating I found a diagram of the chute Tichy
Well, not so fast. his project turned stair bracing. So I got out some scale based its model on. Fortunately, it also
out to be more than a modeling exercise. 2 x 6 styrene and started to add bracing. included a diagram that illustrated the
It turned into a research project that hings were back on track – or so chain placement and rigging.
yielded a better inished model. I thought. hough it may be tempting to over-
he project started out smoothly and I then turned my attention to the coal look basic kits such as the Life-Like coal
I felt pretty good about it. I assembled chute, coaling apron, and related parts. tower, you may want to take another
the tower and hoist house and installed Assembling the Tichy Train Group peek. hese easy-to-build kits can be the
doors and windows in short order. styrene kit was simple enough, but I was starting point for a ine looking model.
76 SCENERY & STRUCTURE PROJECTS
STEP 1 ASSEMBLY
I START BY ASSEMBLING the tower and hoist house per
the kit’s instructions. I use a Squadron Tools no. 10203 .125" x .125" styrene strip
seam scraper and 600-grit sandpaper to smooth the
corner joints.
With the basic structure assembled, I test fit the .040" styrene sheet
Tichy Train Group no. 8003 coal chute. I notice the
opening on the tower is too wide for the chute. To
remedy this, I plug the opening with a piece of .040" Smooth corner joints
styrene sheet.
I also notice that the sheave brackets are taller than
the width of the exterior bracing. After talking over the
situation with senior editor Jim Hediger, we decide the
best course of action is to double the bracing at this
location. I attach a piece of .125" x .125" styrene strip
and file it flush with the kit’s bracing.

Fill gap with

.040" x .040"
styrene strip
4/4 double-hung win-
dows, Tichy no. 8029 Railings

Skirt boards, Install

2 x 6 styrene strip these
braces from
corner of
Stairs skirt board
2 x 6 sty- to inside
rene bracing corner of
braces

4-lite door, Tichy no. 8009 Finally, I install the stairs and railings. I brace the stairs
with Evergreen no. 8206 2 x 6 styrene strip, following
Next, I install Tichy no. 8029 4/4 double-hung windows prototype photos for placement. I use the 2 x 6 to add
and no. 8009 4-lite doors at the appropriate locations. skirt boards to the landings; I install the bracing behind
Because the scale 30" x 80" doors are a little bit narrower the boards. Since the lower landing is L-shaped, I run two
than the openings, I fill the gap on one side with .040" x additional braces from the corner of the skirt boards to
.040" styrene strip. the corner of the wall-mounted braces.

STEP 2 PAINTING AND WEATHERING

WITH RED, GREEN, WHITE, and gray parts, the model
looks like it belongs in a Christmas village display, not Gray Surface
Primer, Acrylicos
on a model railroad. To ensure the final color will cover Vallejo no. 601
evenly, I spray both buildings and the underside of the
roof (see step 4) with Acrylicos Vallejo Gray Surface
Primer. I use the water-based acrylic-polyurethane
(no. 601). The firm also offers a solvent-based version
in an aerosol can (no. 28011).
I let the primer dry for 24 hours and then spray the
structures with Acrylicos Vallejo Shadows Flesh
(no. 70.343), part of the firm’s Panzer Aces line. This
color, similar to barn red, looks like the red used on
many lineside structures during the 1930s.

www.ModelRailroader.com 77
 STEP 3 COAL CHUTE
Sheaves

Chain, A-Line
no. 29219
Chute

Tie-downs

Counterweights,
Toho Takumi 11/0
large-hole seed
beads

Coaling apron Pulleys

Grab irons, .008"

Eyebolts, Detail
brass wire (both
Associates no. 2206
sides)

I REPLACE THE KIT’S simple coaling apron with Tichy After airbrushing the Tichy parts Model Master acrylic
Train Group’s coal chute. The styrene kit includes a chute, Grimy Black, I carefully scrape paint off the gluing faces
coaling apron, sheaves, pulleys, and tie-downs. on the tower and secure the parts with CA.
I form grab irons for both sides of the apron with .008" With the coal chute in place, I install A-Line no. 29219
brass wire. Then I open the molded drill-starter points chain, following a diagram in the Fairbanks, Morse & Co.
with a no. 80 bit and a pin vise. I secure the grab irons by booklet Locomotive Coaling Stations. This factory-
using cyanoacrylate adhesive (CA). I also install Detail blackened chain was the smallest I could find (40 links per
Associate eyebolts at the chain-attachment points, inch). I use Toho Takumi 11/0 large-hole seed beads to
trimming off the excess shank. I open the eyes prior to simulate the counterweights. I got mine from a colleague
installation, making it somewhat easier to install the at our sister magazine Bead & Button, but you can find
40-link-per-inch chain. them at most well-stocked bead and craft supply shops.

STEP 4 ROOF Secure roof panel

to wood block with
masking tape Wood planking,
JTT no. 1011
Roof panel

Sandpaper Trim off excess

plastic with
no. 11 blade

THE ROOF PIECES for the tower and hoist house feature I came across a prototype photo of a coal tower where
molded rolled roofing texture, which to my eye doesn’t the rolled roofing had deteriorated due to the effects of
look very realistic. I attach each roof panel to a piece of weather and time, revealing the subroof underneath. To
scrap wood with masking tape and sand the surface re-create that look, I attach JTT no. 1011 wood planking
smooth with 320-, 400-, and 600-grit sandpaper, working plastic pattern sheet to each roof panel with CA. I cut the
from the coarsest grit to the finest. I leave the non-roof plastic oversize and trim off the excess with a no. 11 blade
sides of the roof panels as-is, since they have molded after the adhesive dries.
alignment guides. After gluing the roof halves with a plastic-compatible
If you aren’t concerned about having the alignment cement, I airbrush the wood planking with Acrylicos
guides on the underside and want to skip the messy and Vallejo Old Wood (no. 70.310), another color in its Panzer
time-consuming sanding step, you can use the roof Aces line. Once the paint dries, I use a brush to apply the
pieces as a template and cut new panels from .040" plain same firm’s Black Shade Wash (no. 73.201), giving the Old
styrene sheet. Wood a further aged appearance.

78 SCENERY & STRUCTURE PROJECTS

STEP 4 ROOF (CONT’D) Attempted sanding
didn’t work as well
Reefer Gray, Model
Master no. 4886
Sanded area
weathered to
simulate exposed
Rolled roofing, subroof
American Model
Builders no. 286

Roofing torn to
reveal subroof

Keep brush
parallel
There are plenty of options for HO scale rolled roofing, but I used to roofing
American Model Builders no. 286 because it has a peel-and-stick backing. material
I tear pieces of the roofing to reveal the subroof below. I also tried sanding
the material, but that didn’t work as well.

Blue painter’s The sanded area of the roofing

tape looks a bit odd, so I cut slits in the
material to reveal the wood planking
and paint and weather the area using
Grimy Black, the previously mentioned tech-
Model Master
no. 4887 niques. I then drybrush the roofing
with Model Master acrylic Reefer
Silly Putty mask Gray and a 1⁄2"-wide paintbrush. For a
realistic weathering effect, keep the
I mask the edges and underside of the roof with blue painter’s tape and brush parallel to the rolled roofing.
cover the exposed subroof with Silly Putty. This stretchy material works
well for masking irregularly shaped areas. Then I airbrush the roof Model
Master acrylic Grimy Black.

STEP 5 WEATHERING Woodland Scenics

Scenic Accents glue

Drybrush with
Reefer Gray and Hobby Pal
Shadows Flesh vacuum
pickup
tool
.010" clear
styrene

TO WRAP UP the coal tower project, I again use Reefer I apply Woodland Scenics Scenic Accents glue, a
Gray to drybrush the tower and hoist house. The weath- pressure-sensitive adhesive, around each window
ering looks a bit heavy, so I drybrush over the gray with opening. Then I use the Hobby Pal vacuum pickup tool
Acrylicos Vallejo Shadows Flesh, not cleaning the brush (available from Micro-Mark and Walthers) to press the
between colors. This simulates the look of faded and .010" clear styrene window glazing into place.
chipped paint. Then I spray the both structures and their After attaching the roof to the tower and hoist house
roofs with MicroLux no. 29006 acrylic Clear Flat Finish, with Plastruct Bondene, I install the structures on the
giving everything a uniform dull finish. layout, completing our locomotive servicing area. S&SP

www.ModelRailroader.com 79
DETAILS TO MAKE YOUR
RAIL YARD REALISTIC

Visits to railroad yards in the United States and Canada inspired Horst Meier to add weeds and other details to his club’s
North American-themed layout in Germany.

Vegetation, spilled loads, roads, and industrial MATERIALS LIST

debris add texture and interest
Track/vegetation
Different ballast in various sizes
BY HORST MEIER • PHOTOS BY THE AUTHOR UNLESS NOTED and scales
Flock
Electrostatic grass fibers
>> RAILROAD YARDS aren’t just vast In our club in Germany, we’re work-
acres of ballast and gravel. Small plants ing on a classiication yard with more Adhesive
and grass, the remnants of carloads, than 10 tracks, and the plain ballasted Matte medium
trash or debris oten catches your eye, tracks looked a little bit boring with just
sometimes in a very picturesque way gravel and sand. Using prototype photos Miscellaneous
here are also service roads winding as our guide, we detailed the space Real dust and dirt
through them for employee access. between the tracks by adding grass, gar- Metal and wood chips from
When the book North American Rail- bage, and debris from carloads. previous projects
yards by Michael Rhodes (MBI Publish- Follow along as I show how I used Coal and coke remains
ing Co., 2003) came into my hands, the both commercial materials and scraps Bits of fine sand
title photo brought back the impressions from my workshop to improve the look Scraps of track-building material
I had visiting North American yards. of our yard.
80 SCENERY & STRUCTURE PROJECTS
STEP 1 ALL KINDS OF DIRT

Remains of carloads, oil drippings, or just garbage can be Maintenance-of-way material like rails, tie plates, spikes,
found in large rail yards, such as the Union Pacific’s yard joint bars, bits of wood, and broken barrels or cases can
in Green River, Wyo. Peter Roth photo be found between the tracks.

Clean bird sand/

gravel from birdcage
Assorted stuff from
Metal shavings wastebasket Sand from
and debris from stream
workbench
Material from
wastebasket and
workbench

Sawdust

Horst found a variety of materials by searching his Horst sprinkles material he has collected to simulate
workbench and wastebasket. debris in the railroad yard.

Fine filter

Crushed gneiss, HO scale

Fine concrete dust

Coke/coal Spray bottle

Use a spoon to spread fine material. Filter matte medium before spraying to limit clogging.

THE LAND AROUND a yard is filled with weeds, grass, and I sprinkle the material between yard tracks with a small
shrubs. I reproduce this with fine Woodland Scenics turf, spoon. If possible, I use different material in various sizes
larger pieces of clump foliage, static grass, and grass tufts. and from several sources to get a varied look. Then I wet
Not only does nature leave its mark in the railroad these areas with a sprayer filled either with isopropyl
yard, much of the debris is man-made. Finding material alcohol or a mixture of water and a few drops of dish-
to model the man-made debris isn’t really a challenge, washing detergent to break the surface tension. This
and it can be done economically. I searched through the allows the adhesive to soak into the material.
wastebasket in my workshop and found wood chips, I use two methods to secure the scenery material. In
dust, dirt, bits of flock and turf, and plastic flash from small and/or clearly defined yard areas, I drizzle thinned
model kits I’d assembled. white glue with an eyedropper in the area being worked.
From the workbench I found chips from drilling This is time-consuming, but it’s important to be careful
aluminum or steel and fine, bright bird sand. [Keep metal around turnouts or between closely spaced buildings.
chips away from track. –Ed.] This stuff can be used to In large areas, I’ll use a hand pump sprayer with
model spilled debris from loads, such as coal or gravel, thinned cement, but be careful: glue tends to block the
items that fell from open cars, or spilled ore. spray nozzle. I use matte medium from Scenic Express
There’s also cribbing, bracing, and packing material on thinned 1:4 with water. This produces a fine, atomized
open cars; dust; and even bits of bark. Sand piles up near spray, but even this mixture should be strained through a
the track from locomotives on start-up and braking. very fine filter to prevent clumps.

www.ModelRailroader.com 81
 STEP 2 ROADS IN THE YARD

Sand for base layer

A road snakes through the BNSF Ry. yard at Barstow, Calif. Horst uses scrap paper to mask out the area for his road.

Old freight car with

deep wheel flanges

Driveway and crossing Rub the brush

material are still wet along the paths
of the vehicle tires

An old freight car with deep flanges can be used to cut Old, well-used brushes with stiff bristles are best for
flangeways in the road crossing. smoothing paths in the gravel road.

ROADS ALSO WEND THEIR WAY through rail yards. Here’s create flangeways and clear the rails of any road material.
how I model a gravel crossing and an access road. A small screwdriver can also help to clear the rails.
First, I mask the area for the road and crossing with The top surface of the crossing on both sides of the
two sheets of paper. Then I sprinkle the space between rail should be below the top of rail so you can clean the
them with fine sand. I apply a final layer of fine ballast in track without interfering with the modeled driveway.
various textures and colors. With the mixture in place, Now I’ll work on the roadway itself. First I add some
I wet it as described in Step 1. Next, I fix the material ground foam to simulate the weeds between the tire
with thinned glue or matte medium. paths. Then I smooth the path where the wheels of
After the road material has begun to set a little bit, I roll vehicles have compacted the gravel using a hard, short
a freight car with deeper wheel flanges over the rails to brush. This greatly improves the looks of the road.

STEP 3 CUTTING CREW

5- to 6-millimeter flocking

Nail trimming scissors

Grass grows between the ties of seldom-used tracks at Horst uses flocking to simulate the growth of grain
the Canadian National yard in Jasper, Alberta, Canada. between the rails, trimmed so it won’t derail rolling stock.

ONE LAST DETAIL is the result of leaking grain cars. Spilled then trim them with nail scissors to keep them from
grain leads to an undesired growth of plants. I use grass interfering with passing freight cars.
flocking to model this, but the short fibers don’t look very The same method can also work on seldom-used
realistic, so I use longer ones, about 5 to 6 millimeters, tracks that have sprouted weeds. S&SP

82 SCENERY & STRUCTURE PROJECTS