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THE ’16XX’ IS HERE!

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How to: build a metal tank wagon kit

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How to: make realistic sheep

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How to: bring the cabs of older models to life

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Model Rail’s 8 essential tips for better scenic modelling

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Cause and effect

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HOW TO: MODEL A SHINGLE BEACH

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HOW TO: CREATE A REALISTIC EMBANKMENT

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HOW TO: MAKE A LIGHTWEIGHT BACKSCENE FROM ALUMINIUM

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LONDON BRIDGE PROGRESS UPDATE

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A weekend wonder

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HOW TO MAKE YOUR OWN GRAFFITI TRANSFERS

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HOW TO CUSTOMISE A SIGNAL BOX KIT

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HOW TO: KEEP YOUR RAILS CLEAN

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HOW TO: USE PLASTER TO CREATE LIFELIKE ROCK FACES

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Some of the year’s most eagerly awaited new diesel-outline models arrived recently, and the August issue of Model Rail features in-depth reviews of Bachmann’s all-new Class 08 and Accurascale’s Class 50. Both models boast impressive specifications, but are they a tangible improvement over existing versions? Our expert reviewers give their considered opinions, with Rapido’s new ‘N’ gauge Class 44 ‘Peaks’ also under consideration, along with Hornby’s ‘Salmon’ wagons and Accurascale’s HTO/HTV coal hoppers.

The new issue is also crammed with easy-to-follow practical demonstrations, with two very different approaches to locomotive weathering explored, while we also undertook tests to establish the most effective glues for bonding static grass fibres – the results may not be what you expect!

Two fantastic readers’ layouts are showcased, in ‘OO’ and ‘N’ gauge, portraying the late British Rail and the 1960s eras, respectively.

It's all in the latest issue of Model Rail, on sale now!

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Workshop  
**Dave Lowery** gives us a taste of what’s involved in the assembly of a modern ‘O’ gauge metal wagon kit.

  
**W**ith the big manufacturers flooding the market with high-specification locomotives and rolling stock, the ‘modelling gap’ is really at an all-time high. The ‘gap’, I should explain, is the difference between those who make models and those who buy them.  
In the old days, many of us got going in modelling by improving ready-to-run models which, at the time, were pretty basic. But the act of fitting wire handrails and other etched metal detail parts, in place of bulky plastic mouldings, allowed us to build useful skills and experience with precision tools, as well as experience of soldering and painting techniques. While it was a minor inconvenience, we didn’t think much of having to cut off a plastic chimney and fitting a new – and more accurate – metal version.  
With modellers now spending hundreds of pounds on new locomotive models, who has the bottle to take a hacksaw and start cutting it up? And do they need modifying anyway? Where has all the fun gone?!  
Seriously though, I’m not the only one who worries about a lack of traditional practical modelling skills among fellow hobbyists, especially younger generations. While they may be whizzes at DCC and computer control, I do think some modellers are missing out on the challenge and reward of building kits, especially rolling stock subjects.  
Making that first jump into building a kit can be quite a big deal. However, plastic wagon kits are an excellent place to start, while some whitemetal kits can be glued together with epoxy, contact and cyanoacrylate adhesives. But an etched brass kit can be especially daunting.  
And that’s where _Model Rail_ magazine, with its range of step-by-step modelling projects, really comes into its own. We have several kit-building features currently in the works, across various scales and materials, which will be appearing occasionally in the Workbench section.  
As a taster of what may be involved in a typical metal wagon kit, here’s an overview of how I built a TEA 100ton bogie tank wagon, using a PRMRP kit. As it is ‘O’ gauge, the various etched and cast bits are nice and big, so they not only show up well in the photographs, but they’re easier to handle too.  
The various techniques employed here are applicable to all manner of kit-building tasks, as well as other aspects of the model railway hobby. Soldering is a prime example, being a skill that’s much more straightforward than many people think, and one that opens many possibilities.  
Naturally, nobody starts off with a huge suite of tools that make the job easier – they’re usually acquired along the way. There are lots of fancy implements to spend your money on if you like, but there are also plenty of cheaper, simpler alternatives.  
One thing that is essential, however, is a decent soldering iron with enough power to get the workpiece up to the necessary temperature to form reliable solder joints. A tool with a 50 Watt rating should suffice for many tasks, although a more powerful version (80 Watt perhaps) is better for working on larger components. Furthermore, a temperature-controlled iron also offers up the chance to work with different materials and solder grades, including whitemetal parts. A modest investment on a good iron set-up at the outset should provide a lifetime of use.  
We’ll go into more detail about tools, soldering and materials in a future issue. For now though, let’s get building…  
  
What you will need  
**SHOPPING LIST**  
◆ Model: PRMRP TEA 100ton tank wagon kit  
**Price:** £85.00  
**Availability:** PR Model Railway Products  
**Tel:** 07807 225801  
**Web:** _:a[www.prmrp.com]{href='https://www.prmrp.com' }_  
**TOOLS**  
◆ Stout knife and blades  
◆ Files  
◆ Pliers  
◆ Metal snips  
◆ Steel rule  
◆ Set square  
◆  Abrasives   
◆ Soldering iron and equipment  
**STEP** **BY** **STEP**

**1** The PRMRP kit consists of etched brass and cast whitemetal components. Take your time cutting out the parts from the fret, preferably with snips or a stout knife over a piece of wood. Clean away any burrs with a fine file.

**2** The next stage is to form the brass components into the required profile, paying close attention to the instructions. In nearly all cases, the half-etched fold lines should be on the inside of the bend, allowing the brass to fold more easily.

**3** This set of metal bending bars take care of folding job, but the parts still need finishing off with flat-nose pliers, which can be used if you don’t have bending tools. Work slowly along the piece making sure there is no twist.

**4** Having formed the long chassis frames, there are plenty of smaller sub-assemblies to tackle. Always take time to ensure parts are folded exactly square, checking with a set square. This ensures accurate joins.

**5** The sheet provided for the tank barrel comes partially rolled, but it needs to be formed into a tighter diameter to allow the seams to meet (see panel on page 63). Check the profile by test-fitting the cast ends into place.

**6** When you’re happy with the barrel, the seam can be held with a strip of tape while soldering. Work outwards from the centre or from one end to the other, using flux and plenty of heat to ensure the solder flows into the joint.

**7** Clean away flux residue from inside the cylinder before fixing the end castings in place. A low-temperature soldering iron and special solder is essential for bonding whitemetal parts, as the material has a low melting point.

**8** Tidy up soldered seams with a broad file and/ or emery paper. A hand power sander is helpful, tackling the excess material quicker and producing a smooth finish. Look out for gaps, apply filler, then sand again when dry.

**9** Using the assembled barrel as a guide, adjust the end chassis sub-assemblies to fit and work out the required length of the main channel frames, marking them carefully before cutting to size. Ensure the cut ends are square.

**10** The main chassis frame can be assembled, checking repeatedly that everything is square and true. Once the channel sections are bonded, the brackets and equipment mounts can be added, following the supplied diagrams.

**11** The chassis can then be soldered to the barrel and the ends. Making one or two ‘tack’ solder joints initially will make it easier to adjust if something is off. Only make the final bonds when you’re 100% sure.

**12** The riveted flitch strips are then added at each end. I used a lower temperature solder for these, ensuring the parts didn’t have to be heated excessively, which could loosen the previous chassis bonds.

**13** Apply a length of tape around the barrel, cutting it to length against each side frame. Remove the tape, lay it flat, and mark the centre. Then reapply the tape to guide the upper longitudinal centre line of the tank.

**14** The catwalks need to be folded to shape, bending the mounting leg tabs under, and tinning each of these with small blobs of solder.

**15** Using centre marks, align the catwalk and clamp with a weight. Apply flux and then gently apply heat to the pre-soldered tags with the iron or a mini blowtorch. This will re-melt the solder on the tabs and bond them to the barrel.

**16** Having added a catwalk, a steel ruler can be taped along the top of the tank to align the next section. Again, the tabs were pre-tinned and bonded to the barrel in the same way, taking care not to dislodge previous solder joints.

**17** There are also pairs of shorter catwalks to add either side of the filler hatch locations, and these were formed and installed in the same way.

**18** The ladders must be assembled from individual side frames and brass wire rungs added. My trusty ‘block of a thousand holes’ came in handy, with holes formed for each rung using the side frame as a drilling guide.

**19** With the rungs in position, the first side frame was slotted in place and soldered, followed by the other side. Both ladders were formed at the same time, using over-sized lengths of rod, adding the other side frames in turn.

**20** I carefully separated the two ladders by snipping excess wire and cleaning up the outer sideframes, taking care not to distort the parts, After filing smooth, the ladders were soldered onto the chassis frame and mounting bracket.

**21** Once all the brass work is done, the various whitemetal detail parts were fettled with needle files and abrasives to remove any excess material and casting marks before fixing in place. I soldered most of these parts with a low-temperature iron/solder, although glue is an option.

**22** Using a piece of glass to ensure the wheels and axles are aligned correctly (all four flanges should always be in contact with the glass), the bogie frames were soldered together. Again, glue is a viable alternative (epoxy).

**23** With all the detail castings installed and the bogies mounted, the assembly stage is virtually complete. After a test run, the model was thoroughly cleaned and degreased prior to entering the paint shop.

**24** The wagon and bogies were sprayed initially with red oxide automotive primer, taking care to ensure the paint reached into all corners of the chassis frames. Spray outdoors on a warm, day or indoors and ensure plenty of ventilation.

**25** When the primer was dry, I checked the model over for gaps or imperfections I may have missed. When satisfied, the gloss black topcoats were built up, again using an automotive paint from a spray can.

**26** Allow the topcoat to harden completely before applying transfers and detail painting, such as brake handwheels, axleboxes and so on. I also applied light weathering as these wagons were rarely clean. The bogies were re-attached.  
  
ROLLING MILL

  
Shaping sheet brass into a curved profile can be achieved by rolling under a metal or wooden rod, working in a similar way to a rolling pin. It’s important to lay the brass sheet on a soft surface, such as a pile of newspapers or the rear of a computer mouse mat, so that the downward rolling pressure from the rods is evenly dispersed throughout the metal. The brass will eventually curl itself around the rod. Exerting greater pressure creates a tighter profile, informed by the diameter of the rolling rod.

A rake of grimy TEA bogie tank wagons makes for a typical BR-era freight train. In September 1982, 31162 and 31276 work hard to restart a heavy oil train at Sheffield. COLOUR RAIL

**Workbench**  
**Peter Marriott** shows how 21st-century scenic technology can add realism to your layout’s livestock.

  
**W**e are all familiar with static grass as a way to bring realism to a miniature landscape. The theory is wonderfully simple: you give a small fibre an electrical charge and it stands on end. The result is upright grass, adding depth and detail… and all from the same principle as rubbing a balloon over your head makes your hair stand on end!  
But what else can you apply this technique to? Snow? Yes, but that’s slightly old hat now. But what about sheep?  
WWScenics has been bringing us innovative scenic products for the best part of ten years and what we have here, for me, really pushes the boundaries. Yes, it’s a pack of electrostatic sheep!  
If your layout depicts the British countryside, you’re going to need some sheep. The humble Ovis aries has played a huge part in shaping the British Isles since it was first brought to these shores over 6,000 years ago.  
There were, according to the Department for Environment Food and Rural Affairs, 31.8m sheep in Britain in 2023. They were less commonly moved by rail than, say, cows, but the transport of fleeces was a staple railway commodity up to the 1950s/1960s.  
Cows and pigs can be represented by plastic miniatures but, as the myriad springtime greetings cards will show, sheep are woolly and, thus, don’t look that realistic as a solid lump. That’s why I was keen to try out WWScenics’ new kit. It’s been designed to use WWScenics’ Pro Grass Box but will work with a puffer bottle or an electrostatic grass planting tool, such as a GrasMaster.  
The resulting sheep definitely have a fine, woolly appearance, especially when you put them alongside a plastic sheep. Consequently, this gets a thumbs up from me.  
I wonder how long it will be before we see fluffy ‘OO’ gauge cats and dogs!  
  
**Choosing your sheep**

  
Did you know that there are 60 different breeds of sheep in the UK? And the National Sheep Association reckons that, if you include all the different crossbreeds, there are 90! It’s a list that goes from A (Aberblack) to Z (Zwartbles).  
Sheep, therefore, are not the white clouds with legs that we see in our imaginations. In the same way that it pays to look at real grass before trying to mimic it with static grass, so you need to study some real sheep to gauge their colour and wooliness before trying to model them. Certain breeds are closely associated with geographical areas, so your choice can be linked to your layout’s locale.  
Why not have a browse through _:a[nationalsheep.org.uk/for-the-public/culture/sheep-breeds/]{href='https://nationalsheep.org.uk/for-the-public/culture/sheep-breeds/' }_ to pick your favourite? Bear in mind while selecting that you’ll need to blend the supplied fibres to get a decent colour match.  
  
What you will need  
**SHOPPING LIST**  
◆ WWScenics OO scale Sheep Flocking Kit (£14.99), Pro Grass Box (£52.49)  
**Availability:** WWScenics  
**Web:** _:a[www.wwscenics.com]{href='https://www.wwscenics.com' }_  
**TOOLS**  
◆ Scalpel with fresh blade  
◆ Selection of small paintbrushes  
◆ Sanding sticks  
◆ Woodland Scenics Scenic Glue  
**STEP** **BY** **STEP**

**1** This is what you get in the basic WWScenics Sheep Flocking Kit: 20x resin sheep, a 5ml pot of black paint, a 10g bag of 0.5mm snow scatter, 10g bag of 1mm Beige Flock, a 10g bag of 1mm Black Flock plus a 5ml pot of glue.

**2** The resin sheep may require some attention with a scalpel. Flash needed removing while the legs on some of mine were uneven. Luckily, these issues were easy to fix. Simply make the cuts and then tidy with sanding sticks.

**3** I wanted classic Suffolk sheep with black faces and black legs. Therefore, I used the supplied black paint. While the panel says two hours to treat 20 sheep, I left mine overnight to dry so you’ll need to factor in this extra time.

**4** When you’ve determined the breed of sheep you want to re-create, you’ll need to blend the fibres together for the fleece. I mixed a little of the supplied white and beige on top of the Pro Grass Box metal plate. Don’t turn it on yet.

**5** Brush a little of the supplied white glue onto the sheep’s body and upper legs, being careful not to get glue onto the dried black paint. Then, before the glue dries, clip the Pro Grass Box crocodile clip to one of the legs.

**6** Hold the sheep over the fibres and turn the applicator on. The sheep needs to be held a few centimetres above the metal plate. The fibres will fly upwards and stick to the wet glue. Put the sheep aside to dry for a few hours.

**7** To use a puffer bottle, hold the sheep using a crocodile clip attached to a wooden stick. Hold the sheep a few centimetres from the bottle as you ‘puff’, moving it around to ensure coverage. Leave to dry for a few hours.  
  
**Choosing the right sheep**  
WWScenics offers two different Sheep Flocking Kits. I’ve tested the basic kit because I already have a Pro Grass Box in my tool kit. But WWScenics also offers a pack that includes the Pro Grass Box, for £59.99.  
  
**Peter’s TOP TIP**  
**Always remember...**  
…that sheep are flock animals and like to be in large groups. Three or four sheep does not constitute a flock! So, when you’re planning your sheep scene, make sure you have enough for a decent sized flock, space for them to graze – and that you’ll need to make time to detail them all.

  
With modern ready-to-run diesel-outline models excelling in the art of interior decor, what can we do to improve the spartan cabs of older models? **George Dent** offers some simple tips.

  
**H**ow we’ve been spoiled over the past decade or so, with ever-increasing levels of detail on our new diesel and electric locomotives. An increasingly common feature is a fully detailed and painted cab interior, with all the dials and controls picked out, plus printed instruction and safety panels on the bulkheads.  
Much depends on the prototype’s design, and whether these internal appointments are actually visible on ‘OO’ models, unless the cab lights are illuminated. But when the detail can be glimpsed, the effect can be really satisfying. Most of us are in no hurry to replace our large fleets of models from the 2000s, which still run beautifully and – in the most part – look pretty good, but is there a way to bring some extra life to the interiors? After all, if you’ve put some work into making the exterior look more realistic, by adding bufferbeam hoses, etched nameplates and so on, a dark void within the cab or a basic grey moulding can spoil the effect somewhat.  
Presented here is a simple array of tips for bringing your interiors to life, whether that be painting an existing moulding or fabricating your own, or maybe adding clutter such as safety vests and discarded newspapers. Adding a suitable crew is a no-brainer, with plenty of figures available these days, not least 3D-printed characters from Modelu with a broad choice of poses and uniform styles to suit different eras. When figures are already provided, such as the Bachmann Class 66 seen above, painting into more appropriate colours can be helpful.  
Moreover, when faced with a locomotive with generous windscreens, such as the Class 66, adding some magazines and newspapers strewn atop the console instantly catches the eye. And it’s a regular sight in reality too, which is a bonus!  
  
What you will need  
**SHOPPING LIST**  
◆ 3D-printed train crew figures  
**Price:** from £4.95 each  
**Availability:** _:a[www.modelu3d.co.uk]{href='https://www.modelu3d.co.uk' }_  
◆ Lorry/Van detailing pack  
**Price:** £2.00  
**Availability:** _:a[tencommandmentsmodels.co.uk]{href='https://tencommandmentsmodels.co.uk' }_  
**TOOLS**  
◆ Knife and spare blades  
◆ Cutting mat  
◆ Steel rule  
◆ Tweezers  
◆ Paintbrushes  
**STEP BY STEP**

**1** There was a time when we were grateful for any form of cab interior, and these mouldings from a Vi-Trains Class 47 from the late 2000s have been painted matt black to remove the intrusive, high floor from view. The tops of the seats have been picked out and, thanks to the driver’s safety vest, he becomes more visible from the exterior.

**2** As diesel-outline models began to offer improved levels of detail, the cab interior mouldings became a little more intricate, albeit usually unpainted. The seats, doors, bulkhead detail and consoles of these Bachmann Class 25 cabs (from the mid2000s) already look better. Painted drivers help too.

**3** Bachmann’s original Class 08 first appeared in 2000 and will soon be superseded by an all-new version. A simple, effective upgrade for older models is to prise the cab shell off and paint the control panel and equipment, picking out the dials, and giving the ‘floor’ a coat of matt black before fixing a driver in place.

**4** Heljan’s Class 14 has been around for 15 years now and, while the interior mouldings feature lots of detail, they’re unpainted. Picking out the controls, dials and conduit in appropriate colours, while painting the ‘floor’ matt black, gives a sense of depth. A coat of thin weathering wash and a spot of dry-brushing gives the cab a lived-in feel.

**5** This Hornby RailRoad Class 37, based on the 1980s Lima tooling, lacked any sort of cab interior, so I added one to the non-motor end from various bits of plastic card offcuts and seats salvaged from a long-forgotten old model (a Hornby ‘25’?). A degree of fettling was required to ensure adequate clearance within the bodyshell profile.

**6** Reducing and printing newspapers, magazines and other ephemera is a simple way of adding internal clutter – and gives the Driver’s Assistant something to fill his time. This is a proprietary pack of printed details, aimed at lorry cabs, from Ten Commandments. Adding a road atlas into a train cab can introduce a touch of humour.

**7** Milliput and similar modelling putties are great for shaping into objects with which to furnish the cab, such as drivers’ bags, lunch boxes, flasks and even clothing. These high-visibility vests were created by rolling out the putty thinly, trimming to size, then folding loosely. Once painted, they look the part.

**8** This LimaClass 67 has gained a driver’s desk from an aged Hornby Class 110 DMU, found in a bargain bin at an exhibition, while the DIY high-vis vest adds extra interest. I wasn’t able to add a bulkhead due to the proximity of the gear tower, but the painted driver catches the eye through the windscreen.

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Want to start scenic modelling but don’t know where to start? **Peter Marriott** offers eight essential products that will help you get the best from your layout.

  
**P**lethora is a word that is regularly used in the wrong context. How many times do you see a manufacturer proudly claiming that its new product has a “plethora of fine detail”. That means that it actually has too much fine detail.  
But it could be argued that the one area in railway modelling where plethora could be correctly applied is scenic detailing. For those of us used to this world, we can navigate our way around the seemingly endless selection of products and can argue the merits of one brand over another.  
Manufacturers keep supplying new and innovative products to the market and we’re in an advantageous position to judge how those new products will work in everyday use.  
Yet for the newcomer, the sheer array of scenic products must present a baffling and bewildering barrier.  
Now, that’s not me saying manufacturers should stop developing new products or that new manufacturers aren’t welcome to the market. Far from it. But was there a way for me to guide those new to hobby – or indeed those setting out on their first scenic modelling journeys – through the minefield?  
I pondered this while on the way home from an enjoyable – and inspirational – visit to both the Vale of Rheidol and Talyllyn Railways a few years ago. I really wanted to capture that essence of the narrow gauge, with a railway seemingly running on a ledge on a hillside, a feature common on both railways.  
Could I, while creating such a narrow gauge cene, use it as a emonstrator for my avourite scenic roducts, some new, some familiar? Well, that’s what this little scene is designed to do. Consisting of a single narrow gauge line, raised on an embankment above a footpath, with a trickle of a waterfall tumbling down the valley, the diorama has allowed me to employ a range of materials and techniques, so allowing me to share eight useful scenic tips which will hopefully help with your own modelling projects.  
  
**TIP 1** FLOWERING BUSHES

  
Flowering bushes are a good way to add dashes of colour and different textures to your layout. You can add them to hedgerows or to the lineside. The colour of the flowers can really help set the season your layout depicts.  
Busch has a range of 120mm by 80mm mats that are one of the best sources of flowering bushes. They come in several colours with the foliage up to 35mm, so are ideal for the popular scales.  
**What to buy**? Busch 3595 White Flowering Shrubs  
**Price:** £8.75  
**Availability:** Golden Valley Hobbies  
**Tel:** 01981 241237  
**Web:** _:a[wwwgoldenvalleyhobbies.com]{href='https://wwwgoldenvalleyhobbies.com' }_

Break off a piece of the material to the size you want. Then cut away its backing material.

Glue to the landscape with white glue that will dry clear and matt. I recommend Mod Podge Matte Medium.  
  
**TIP 2** DIFFERENT HEIGHT GRASSES

  
We’ve covered how to plant static grass countless times over the years but there’s much more to static grass than simply switching on your GrasMaster. Realistic miniature grass requires careful study of the prototype.  
To plant realistic grass, it is necessary to use different height fibres, over-planting one layer with another. In my experience, Noch’s are some of the best subdued colours that can be mixed together.  
**What to buy?** Noch • 08321 2.5mm Dark Green Scatter Grass • 08324 2.5mm Golden Yellow Scatter Grass  
**Price:** £3.05 each  
**Availability:** Gaugemaster  
**Tel:** 01903 884488  
**Web:** _:a[www.gaugemasterretail.com]{href='https://www.gaugemasterretail.com' }_

Spread on a little glue over the area you want grassed. Then plant with light green 2mm fibres.

Once the glue has dried, dab on a little glue on top of some of the 2mm fibres. Then repeat with 4mm medium green fibres.

Leave to dry overnight. The following day, apply some small areas of glue and plant 7mm dark green fibres.  
  
**TIP 3** CHOOSE THE RIGHT TREES

  
A tree can make or break a scene, particularly when used in the foreground. Don’t skimp here! There are loads of good quality trees available from Busch, Faller, Noch (its Master Trees range) and Premium range of Woodland Scenics.  
However, I’ve been impressed by Primo Models’ range. The trunk, foliage and lower branches are well produced and they come in lovely cardboard packaging.  
**What to buy?** Primo Models Larch Model Trees  
**Price:** from £9.00  
**Availability:** Primo Models  
**Tel:** 07928 856138  
**Web:** _:a[www.primomodels.co.uk]{href='https://www.primomodels.co.uk' }_

Planting a tree couldn’t be easier. Make a hole in the landscape using a bradawl or even a screwdriver.

Press the tree into the hole and secure with your favourite clear, matt adhesive.  
  
**TIP 4** ADD CAMEOS

  
Small scenes of everyday life can really catch the eye if done well. They can even make the layout feel bigger because they keep your attention for longer.  
There are so many possible sources for cameo scenes. The ModelU range of figures is worthy of mention but you do have to be handy with a paintbrush to get the best from them. Of the ready-to-plant selection, Noch’s figure sets are a really quick and easy ways to add a cameo to your layout – and I used several here.

Couldn’t be easier: choose the desired location and secure with a small blob of PVA adhesive.  
**What to buy?** Noch 15891 Anglers x5  
**Price:** £17.25  
**Availability:** Gaugemaster  
**Tel:** 01903 884488  
**Web:** _:a[www.gaugemasterretail.com]{href='https://www.gaugemasterretail.com' }_

Rather than another ‘how to use it’, this time it’s a word of warning: plan your cameo use carefully. Aim to mirror real life scenes, avoid cliches and don’t over do it!  
  
**TIP 5** FREE STUFF

  
Good as they undoubtedly are, modern scenic products can be quite expensive. So a ten-minute walk around your garden or local park can yield lots of modelling material.  
Fallen twigs are perhaps the most useful and can be used for anything from timber loads to tree stuff. Remember to only use discarded material – don’t start ripping twigs from trees or moss from stones!  
**What to buy**? Twigs and sticks  
**Price:** Free!  
**Availability:** Garden, park, local woodland

It is best to work with twigs that are fully dried. If they’re damp, leave them in a warm room or the airing cupboard to dry.

Cut off any side shoots as near to the main stalk as possible using a sharp craft knife over a cutting board.

Fix to the layout using PVA… or any adhesive that dries matt and clear.  
  
TOP TIP  
Keep any loose pieces of leftover bark to crush between your fingers for representing the debris around the base of a tree and on the floor of a wood or forest.  
  
**TIP 6** VARY THE COLOUR

  
You only have to look out of your window to see the huge variety of colour that Mother Nature has to offer. It’s currently spring, yet how often do we see the purples, pinks and whites of spring blossom modelled? Not often.  
I make no apologies for using these small trees from Primo Models, which are available in a number of foliage colours. What makes them great is that, at 5cm tall, they can be used to represent a flowering bush.  
**What to buy?** Primo Models Blooming Apple Tree  
**Price:** £10.00  
**Availability:** Primo Models  
**Tel:** 07928 856138  
**Web:** _:a[www.primomodels.co.uk]{href='https://www.primomodels.co.uk' }_

Dead easy! Use the same technique for planting trees described on the left.  
  
**TIP 7** SCENIC PAINTS

  
Remember when all we had was lichen and coloured sawdust? New from WW Scenics are five different shades of modelling mud.  
Effectively a textured paint, they come in 100ml re-sealable pots and there are Smooth, Fine, or Coarse Textures to choose from.  
The beauty of these ‘muds’ is that they can be mixed to form different shades or textures. They can even be used to fill gaps in the landscape too.  
**What to buy**? WW Scenics • Clay Wet Mud • Black Peat Wet Mud • Brown Clay Wet Mud • Light Brown Wet Mud • Coarse Dry Mud. RRP: £9.99 each  
**Availability:** WW Scenics  
**Tel:** 01792 815841  
**Web:** _:a[www.wwscenics.com]{href='http://www.wwscenics.com' }_

Take an old, flat paintbrush and paint the mud where you want it to go. Then leave to dry. I used it on this diorama to make a forest track.  
  
**TIP 8** GRASS TUFTS

  
Grass tufts can be useful for adding height and colour to a scene, though it is best to avoid those that look just what they are – a bunch of static grass fibres on top of a blob of glue. Unlike static grass, tufts come into their own in isolated areas where it’s not worth getting out your grass applicator.  
Again, there are myriad tuft manufacturers but I’ve been won over by those from Primo Models. The fibres are nicely subdued and the flower effects are finely applied. There’s a good range of different heights and colour combinations.  
**What to buy?** Primo Models • Brown Grass Clumps 12mm • Brown Green Grass Clumps 6-12mm  
**Price:** £3.00 each  
**Availability:** Primo Models  
**Tel:** 07928 856138  
**Web:** _:a[www.primomodels.co.uk]{href='https://www.primomodels.co.uk' }_

Planting tufts is a quick process. First, put a dab of white glue on the landscape where the tuft is to go.

Hold with a pair of tweezers, then push it in the still-wet glue. Leave until the glue cures.

Altering one decision can drastically change the outcome of one’s life. Russ Pigott has filled his room with a hypothetical scenario based on one change from 300 years ago.

**Words:** Chris Gadsby **Photography:** Chris Nevard **Artwork:** Andrew Mackintosh

**“ It doesn’t matter whether Russ is in the mood for shunting or running long rakes of wagons, there’s something he can do to while away the hours at ‘Cley-on-Sea’. One of the lucky ones with plenty of space to include everything he wanted, it’s no wonder his family lose him for hours at a time! ”**

Anybody who has watched plenty of science fiction television or films will be familiar with the laws of causality. For those who aren’t familiar with the term, the premise is that a single decision in the past creates an entirely new timeline and therefore one cannot simply go back in time and change an event expecting everything to be the same. We often think about this in our own lives with the expression ‘I wonder what life would have been like if I hadn’t…’ Fortunately, model railways allow us to play out these hypothetical scenarios without inadvertently changing the course of human events. Russ Pigott has done just that with his enormous room-filler ‘Cley-on-Sea’.

“The port of Cley used to be one of the busiest ports in England before it was silted up in the 1700s. If you look at historical maps you can see how much more water there used to be around the area. My ‘event change’ from the past is that this silting didn’t happen, and that Cley continued to grow and become a busy holiday destination like Great Yarmouth with a thriving railway. In real life I’m quite pleased that Cley-next-the-Sea remains a quiet little village, with the hustle and bustle confined to my dedicated railway room.”

> “My ‘event change’ from the past is that this silting didn’t happen, and that Cley continued to grow and become a busy holiday destination”

The track rises about three inches as it leaves the terminus station, giving a subtle but pleasing elevation change.

Russ splits his free time seasonally, working on his array of classic cars in the summer, before heading upstairs in the winter to work on the 200 yards of track at ‘Cley-on-Sea’.

“Construction of the layout began in 2018 with the building of 100ft of baseboards, covering in laminate flooring to ensure quiet running and allow the track to be lifted easily again if required. The track is all Peco Code 100 as I had a lot of it already from previous projects, but I did have to purchase a bit more to cover the 140 points that the layout now has. Unlike many modellers, I didn’t spend ages coming up with a track plan before I started building, my approach was to put track down and just see what looks right. A benefit of a fictitious layout! I knew I wanted a terminus station, but also the ability to run trains in a loop, a triangular junction, motive power depot, small marshalling yard, tramway and a swing bridge. It’s a good job I had a 35ft by 18ft room to put all that in. What I didn’t want was rows of sidings which looked too geometric and ended up with a big loop around the outside of the room and a triangular junction which feeds the terminus station in the middle.

With ‘Cley-on-Sea’ being so large, we’ll allow Russ to take us on a tour of his creation, starting with the large terminus station.

“I’ve taken inspiration for that from Norwich, Yarmouth and Lowestoft, so it’s a real mix of areas. There are four main platforms and a bay platform with a busy street down one side, consisting of low-relief buildings, either ready-made or kits. I’ve also included some larger buildings constructed from Tri-ang Arkitex, which some older readers may remember. In the station throat there are three double slips and a scissors crossing which allows trains to reach any platform and the sidings from both main lines and on the opposite side of the station there are some smaller sidings for shunting wagons for the quayside and a coal yard.

“Leaving the station and turning right you reach the village I’ve called Wiveton Quay and the Wiveton swing bridge where the railway crosses the Norfolk broads. This was laser-cut for me by Adrian from Torri Laser and given more relief with profiled plastic strip. Trains then move through the village consisting of some ready-to-plant buildings such as the pub and shop from The Model Centre, but the signature of the area is the flint cottage which I had to make from card and embossed plastic card as nothing is available on the market. Norfolk also has many large flint churches, and to replicate this I use the Metcalfe example as a base, covering it in flint plastic card. Keen not to fill the entire layout with track, I then have a section of country track in a plain setting which passes through a former station and into the non-scenic sidings above the stairs.

“At the other end of the non-scenic section trains go past Glanford Yard. This has no influence from Norfolk at all, this time taking inspiration from places such as Doncaster, with a shed, fuel storage and warehouse. From here trains can either follow tracks around to the right and into the terminus station again, or loop around the entire layout again.”

8 - Russ has painted his track with aerosols before ballasting with Woodland Scenics fine ballast. This was then coated with Pledge Klear floor polish, applied from a trigger spray, before the track was weathered with more aerosol-based paints.

9 - The water for the Norfolk Broads has been created using Allan Downes’ method of painting the baseboard and pouring PVA on top in small layers, allowing each to dry before moving on.

Despite ‘Cley-on-Sea’ being a fictitious layout, as a freight train driver, Russ still wanted to make it look as realistic as possible, from the way he operates his points to the positioning of the semaphore signals.

“With 140 points to operate, I made the decision that only those operated by a signal box would have point motors, my rationale being that in a yard points would be changed by hand, so I might as well switch the points by hand as well. The signals are from Ratio with MSE ground discs and a banner repeater. Unfortunately, my modelling skills don’t extend to being able to make operational semaphores but they are all posable to ensure they look correct for photography. My colour light signals have been wired with multiple switches in sequence so that moving one switch changes the aspects of multiple signals to the correct colour, avoiding a green signal directly before a red one. I’m quite fussy about getting the signalling right as I’ve seen so many fabulous layouts ruined by signals placed haphazardly all over the place.”

There isn’t any more room for ‘Cley-on-Sea’ to expand, but with the build complete other than the addition of a few more extra details, Russ is now ready to kick back and play trains, something he doesn’t feel he’s done enough of over the last four years.

“Most of the models are fitted with DCC sound, so I’m looking forward to sitting back and listening to them make their way through the East Anglian countryside. I’ve also been starting to film videos for YouTube so once the cars have been packed away again this winter, expect to see many more videos on my channel.”

With Russ’ layout showing what might have been had one decision not been made 300 years ago, it highlights just how many variations of layouts there could be depicting the same place had different decisions been made throughout history. The mix of alternative and true history always makes for an entertaining layout, so why not give it a try?

13 - Russ built ‘Cley-on-Sea’ primarily to run trains, but hasn’t considered running it to a timetable. As long as the stock is appropriate for Norfolk in 1968/69, it can run in Russ’ railway room.

14 - The road surface is poster paint with added filler and sanded to give different shades and textures throughout.

1 - Everybody loves a barn find, and these vehicles look ripe for restoration.

2 - The local coal merchants are hard at work bagging up all that fuel.

3 - The busy townscape and terminus station, with its similarity to Norwich Thorpe.

“I’m a freight train driver and enjoying taking my collection of classic cars out for drives in the summer months. I have four MGs, including a Maestro that wins a few prizes at shows, and two Rovers.”

With the weather getting a bit warmer, **Peter Marriott** turns his attention to summer and describes how to make a beach with a difference.

Think ‘beach’ and you immediately picture smooth, sun-kissed sand. Perfect for building sandcastles (or digging holes if you prefer!), playing football or cricket or simply relaxing on a towel. Yet there are dozens of beautiful beaches around the UK where you can’t dig, play or relax because they comprise more shingle than sand.

From Scotland to the South Coast, East Anglia to North Devon, there are shingle beaches galore. Some are mixed with sand whereas others are nothing more than acres of smooth stones that make that distinctive clonking sound when you walk on them.

A sandy beach is quite easy to recreate in model form, but a shingle beach presents some challenges. Woodland Scenics offers the solution in the form of its bags of Talus– essentially small stones – which come in three grades: coarse, medium and fine.

Another good find from the Bachmann/ Woodland Scenics range was re-purposing the Scenecraft Sleeper Retaining Walls as groynes, the distinctive feature that you find on a beach that acts as a barrier to long-shore drift.

In fact, you can get pretty much everything you need for a pebbly, shingle beach from Bachmann/Woodland Scenics. That made modelling this small scene a very quick affair. Within a few hours, I had a scene where, with a bit of imagination, I could hear the waves washing over the stones, smell the salt of the sea and feel the breeze blowing my hair.

All I needed was the taste of fish and chips!

◆ Woodland Scenics • WC1274 Fine Brown Talus • WC1275 Medium Brown Talus • WC1276 Coarse Brown Talus (£6.50 each) • WA1937 ‘HO’ Windy Day Play (£13.25) • WA1939 ‘HO’ Outdoor Dining (£13.50)  
◆ Bachmann Scenecraft • 44-0153 Lifeguard hut (£15.95) • Wood Sleeper Retaining Walls (£13.95)  
**◆ Availability:** Bachmann stockists  
◆**Web:** _:a[www.bachmann.co.uk]{href='https://www.bachmann.co.uk' }_

◆ Woodland Scenics Scenic Glue  
◆ Craft knife with sharp blade r Bowls r Paint brushes r Plastic pipette

**1** I used a piece of white foam to provide a lightweight base and then used plaster cloth to make the profile of a beach. Cut out small pieces of the base foam to make rock pools.

**2** The surface was covered with a thin layer of plaster, coloured with a little brown paint. Set the Scenecraft retaining walls into the plaster. A little Scenic Glue helps to fix them into place. Leave to dry.

**3** It’s worth studying pictures of real beaches to get a feel for where to place the different grades of Talus. I used all three sizes – fine, coarse and medium. Be careful to maintain depressions within your rock pools.

**4** Use a plastic pipette to spread Scenic Cement over the loose Talus. Once the first coat has dried, cover the whole area again to ensure a permanent bond. This has worked well and the beach has remained stable.

**5** Line the edge of the baseboard with masking tape to prevent the water solution from leaking all over the place. I used Woodland Scenics’ Realistic Water for the first layer. Apply using the supplied instructions.

**6** A layer or two of Realistic Water will leave a nice, flat, glossy water surface. In order to create waves, I used Woodland Scenics’ Water Ripples. You can use the supplied ‘lolly stick’ to whip the fluid into waves.

**7** Woodland Scenics’ range of surface water products includes this white paint, which has been formulated to create ‘white horses’ on its Waves and Ripple products. Dab on to the dried waves.

**9** I used 7mm static grass towards the rear of the diorama to represent marram grass, fixing it into Woodland Scenics’ Static-Tac adhesive. Some Woodland Scenics Peel ‘N’ Plant tufts bring a little variety.

**8** Don’t forget the rock pools. Use poster paints to colour the bottom of the pool – study the real thing first. Then fill with a little Realistic Water. Allow each layer to dry before adding another.

**10** Woodland Scenics offers some useful packs for a beach scene, albeit in ‘HO’ scale. Fix with Scenic Glue. I felt the scene needed a fish retailer – but that particular Scenecraft model is no longer available new.

**Peter Marriott** employs some useful modelling aids to produce convincing scenic contours and lifelike vegetation, offering some vital hints and tips along the way.

**I**t cannot be stated enough how important it is for us modellers to take the time to study the natural landscape around us. This helps us to reproduce what we see more effectively, resulting in better looking scenery.

For example, on looking at an area of grass and weeds it soon becomes apparent that sometimes the shorter grasses are darker than the longer strands. Therefore, the challenge is how to best employ different shades of grass fibres to make the most realistic landscape.

We see many different textures and shades of green in real life which means that, to make the best scenery, multiple layers of scenic covering and a range of different materials are necessary.

Go out for a walk or study photographs of your chosen location, making notes on what you see. When browsing products, you’ll be able to seek out the most appropriate colours and lengths of grass fibres to suit your subject, considering the scale you’re working in and also which season of the year you’re looking to reproduce.

I always suggest veering towards more subdued colours for scenic work, rather than bright vivid colours which can look garish on a scale model. Pay attention to seasonal colours too, as there’s more likely to be paler shades of grass and vegetation in autumn than in the height of spring, for instance.

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