I managed to clean up the burros. Broke one leg in the process, but a little brass wire and some careful drilling fixed that! I also re-worked some gold miners that I purchased from www.peoplescale.com. I was excited to find gold miners at a reasonable price. After looking at the included figures I realized that the poses were a bit to active--a lot of mid motion movements. These (to my eye) tend to look funny on a model railway. There were also some odd anatomical anomalies--an arm bent in a direction it should not be, etc. So, I set about modifying them to the best of my ability. One of the miners, after having his arm fixed, received a shepherd's crook in place of his shovel--After prepping and adjusting the figures, everyone got a wire in their foot, or a couple of wires in their feet, to facilitate placing them someplace in the future.
It is nice that the burros were able to graze on a paper towel in the sun before I unceremoniously coated them with primer!
Model railroading is a way of life. I love all aspects of the hobby whether it's in N, HOe, HOm, HO, ON30 or O. I'm game for 3d printing, airbrushing, machining, laser cutting, soldering track and any other method out there. I've been moving a lot lately, which has resulted in a lot of building, dismantling, and rebuilding. I will share as much as I can as I reconstitute my railways. You never know what you'll find, maybe something cool will pop up.
Sunday, December 4, 2011
Shingle Shed and Shifty Shack 12
This is the foundation as it stands now. . . after dry brushing.
The uncarved bits are where it will be set into the ground. I may go back and paint it one more time. I wanted the foundation to look "cool" in order to warm up the wood. If I were to go back, I would just repeat the previous procedure, building up more layers, but shifting the color slightly. Before I decide whether I want to do that or not, I am going to take a look at it in the daylight.
My desk lights, and the T5 fixtures in the workshop are all lamped with 3500k color temperature florescent bulbs, which are pretty darn good for color--all the same, I like for the models to look good under daylight or artificial lighting, so, before making big decisions I like to check both. A good excuse to take a break after the sun goes down!
The uncarved bits are where it will be set into the ground. I may go back and paint it one more time. I wanted the foundation to look "cool" in order to warm up the wood. If I were to go back, I would just repeat the previous procedure, building up more layers, but shifting the color slightly. Before I decide whether I want to do that or not, I am going to take a look at it in the daylight.
My desk lights, and the T5 fixtures in the workshop are all lamped with 3500k color temperature florescent bulbs, which are pretty darn good for color--all the same, I like for the models to look good under daylight or artificial lighting, so, before making big decisions I like to check both. A good excuse to take a break after the sun goes down!
Shingle Shed and Shifty Shack 11
I started painting by first priming the "stone" foundation with some blue-gray latex paint that was laying about, a left over from painting a chicken coop? Not sure, but it looked like a good starting color. I stippled it into the balsa foam so as not to kill the texture, and ensure good adhesion. Stippling also helps adhere any dust that you did not manage to dust or blow off. I like to start stone (or shingle) painting with some color--blues for granite, reds if it were sandstone. . . but some color. Anything but gray.
To that I add some other colors, mixed down yes, but clearly colorful all the same. A lighter blue, a yellow, a sienna, and a red. Not to fussy about it, just to get some variation in the undercoat. Looks like one of those "Brick Face and Stucco" jobs from the 60's or 70's at this point. In almost every case, I don't like the color to sit on the surface, rather, I layer it up, and allow previous layers to show through. Those of you offended by the brightness of the above will be relieved when I. . . . .
Hit it with a control coat of 50% gray. In this photo it is picking up some light. Some of the gray will invariably come off, so, it is a tad heavy, but not bad. Just a mixture of lamp black and titanium white acrylic blown through the airbrush--no need to get more complicated, since color from underneath comes through.
I left things to dry for a while. An important step. If you don't, working wet on top of this will result in paint soup. . . not good for models, and not flavorful.
The next bit looks scary, but it is not. . . . I put some ink (the cheap stuff for learning caligraphy) in a porcelain tray, I also had some plain alcohol handy.
Alternating between the alcohol and the ink, I blotted the wall heavily, my goal being to get the ink into the pores of the balsa foam (that is where stippling the primer coat helps--maintains the texture).
Looks scary, but notice the sheen. Paint has the foam sealed, so one can blot off the wall with a brush, or even a paper towel.
In the above photo things are still wet, but you can see how the ink finds and loves those painted pores of the foam. Almost there.
Before going further, I did a little color check against the adjacent work. It all looks dark, but that is ok, since the next step is to lighten it all up with some dry brushing of white paint. . . nothing more, nothing less. . . .
To that I add some other colors, mixed down yes, but clearly colorful all the same. A lighter blue, a yellow, a sienna, and a red. Not to fussy about it, just to get some variation in the undercoat. Looks like one of those "Brick Face and Stucco" jobs from the 60's or 70's at this point. In almost every case, I don't like the color to sit on the surface, rather, I layer it up, and allow previous layers to show through. Those of you offended by the brightness of the above will be relieved when I. . . . .
Hit it with a control coat of 50% gray. In this photo it is picking up some light. Some of the gray will invariably come off, so, it is a tad heavy, but not bad. Just a mixture of lamp black and titanium white acrylic blown through the airbrush--no need to get more complicated, since color from underneath comes through.
I left things to dry for a while. An important step. If you don't, working wet on top of this will result in paint soup. . . not good for models, and not flavorful.
The next bit looks scary, but it is not. . . . I put some ink (the cheap stuff for learning caligraphy) in a porcelain tray, I also had some plain alcohol handy.
Alternating between the alcohol and the ink, I blotted the wall heavily, my goal being to get the ink into the pores of the balsa foam (that is where stippling the primer coat helps--maintains the texture).
Looks scary, but notice the sheen. Paint has the foam sealed, so one can blot off the wall with a brush, or even a paper towel.
In the above photo things are still wet, but you can see how the ink finds and loves those painted pores of the foam. Almost there.
Before going further, I did a little color check against the adjacent work. It all looks dark, but that is ok, since the next step is to lighten it all up with some dry brushing of white paint. . . nothing more, nothing less. . . .
Shingle Shed and Shifty Shack 10
I continued to carve the balsa foam foundation. The following photos give a clear idea of the process. One begins with the basic outlines. Next step is to progressively carve the stones, ultimately shaping them so that they seem to be individual stones. The last carving step (to my eye) is to give the stones some surface variation, so that there are some "ins and outs".
As I near the end of carving, I am careful to test fit the foundation, and make any subtle adjustments so that the building and foundation will "feel as one" when ultimately joined.
You can see in the above photos, I carved the cobble ramp to the door, and adjusted the stones in on the back, giving the wall a "battered" appearance. "Battering" meaning that it slightly steps back as the courses become higher.
Next step, paint!
As I near the end of carving, I am careful to test fit the foundation, and make any subtle adjustments so that the building and foundation will "feel as one" when ultimately joined.
You can see in the above photos, I carved the cobble ramp to the door, and adjusted the stones in on the back, giving the wall a "battered" appearance. "Battering" meaning that it slightly steps back as the courses become higher.
Next step, paint!
Friday, December 2, 2011
Shingle Shed and Shifty Shack 09
Started carving the base for the Shingle Shed last night.
The basic form was cut from a block of balsa foam using a back saw. After I was satisfied with a drawing of the stone pattern, I proceeded to carve with a #16 blade. If folks are interested, I will try to make a video showing how the balsa foam handles. I love the way it carves--it really does "feel" like balsa without grain.
I left the tool marks, I think with some sanding, they will end up looking like part of the stone. . . .
More sometime on the weekend.
The basic form was cut from a block of balsa foam using a back saw. After I was satisfied with a drawing of the stone pattern, I proceeded to carve with a #16 blade. If folks are interested, I will try to make a video showing how the balsa foam handles. I love the way it carves--it really does "feel" like balsa without grain.
I left the tool marks, I think with some sanding, they will end up looking like part of the stone. . . .
More sometime on the weekend.
Tuesday, November 29, 2011
Shingle Shed and Shifty Shack 08
Thanks for looking. There are photos of every step in earlier posts. . .
In light of my recent conversion to O scale I am interested in selling a backlog of HO kits and miscellaneous items. If you are interested drop me a note. Items are being dropped from the list as they are sold, so, if you want something, ask before it disappears. . .I would gladly entertain offers on groups of items, especially the car kits or plastic buildings. Thanks for your interest.
| MFG | Number | Name | Desc. | |
| Builders in Scale | Weiry and Son | New, Box Wear | s | |
| C&C Crow | NP Mississippi Tower | New, Dust | s | |
| California Model | Triangle Cafe | Opened by prior owner, appears complete | s | |
| Downtown Deco | 1049 | Patterson Hardware | New in Shrink, bought after release | s |
| Fine Scale Miniatures | Jewel 9 | Bartholow Coal | New | s |
| Fine Scale Miniatures | 155 | Coal Dock | New, Box Wear | s |
| Laser Kit | Polar Bear Cafe | New | s | |
| Microscale | Wintersrun Tower | Opened by prior owner, complete | s | |
| Sheepscot | Beanfield Siding | Opened by prior owner, complete | s | |
| Sheepscot | Cats Head Pier | New | s |
| MFG | Number | Name | Desc. | |
| Funaro | C 508 | NH NE Caboose | 1 of 2 New | c |
| Funaro | 6005 | B+M XM SS Box | New | c |
| Funaro | 6914 | Abbots Twin Tank Milk | New | c |
| Funaro | 6750 | War Emergency Hopper | New | c |
| Funaro | 1049 | Dairyman's Milk | New | c |
| Funaro | 6970 | J+L Coal Tar Tank | New | c |
| Funaro | 6321 | DLW 1924 Phoebe Snow | New | c |
| Funaro | 7030 | National Oil w/AB Brake | New | c |
| Funaro | 6181 | Wood Sealy Hopper | New | c |
| Funaro | 3052 | Wabash Box | Unwrapped, may be damaged but looks OK | c |
| Funaro | 7084 | Wabash Auto Box | New | c |
| Funaro | 7090 | Erie Covered Hopper | New | c |
| Funaro | 6650 | GTW Auto Box | New | c |
| Funaro | 6590 | B+M Well Hole Flat | New | c |
| Funaro | C508 | NH NE Caboose | 2 of 2 New | c |
| Tichy | 4026 | USRA SS Box | Westerfield Decal Clinchfield | c |
| Tichy | 4030 | SS Cement Service | c | |
| Tichy | 4026 | USRA SS Box | Westerfield Decal West. Maryland | c |
| Tichy | 4026 | USRA SS Box | Westerfield Decal NS | c |
| Westerfield | 11601 | R7 Reefer Orig. Roof | One Piece Body | c |
| Westerfield | 2501 | Comp. Gondola CM+St.P Milw. | c | |
| Westerfield | 3803 | Boston and Maine, USRA DS Orig. | One Piece Body | c |
| Westerfield | 6003 | ACF 40' Reefer, 1911-1920's | 1911-1920's Art | c |
| Westerfield | 2201 | Clausen Pickle Coffin Tank Car | c | |
| MFG | Number | Name | Desc. | |
| Athearn | GP38-2 2007 P+W | Ready to Roll, looks good, may have loose hand rail | m | |
| Atlas | H-16-44 NH 564 | Master Series | m | |
| Faller | B-945 | Coal Mine | Opened by prior owner, appears complete | m |
| Kibri | 9492 | Station Reichelsheim | Opened by prior owner, appears complete | m |
| Kibri | 8365 | Row House | Opened by prior owner, appears complete | m |
| Kibri | 9350 | Station Feldafing | Opened by prior owner, appears complete | m |
| Vollmer | 5711 | Coaling Facility | Opened by prior owner, appears complete | m |
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