David Holman

It can be interesting to see how others have built things! Indeed, am not entirely sure what folk would think of my stuff if they knew what was under the paint, filler etc... For me, the crucial things are it looks good and runs well [if applicable]. What Eoin is doing is pure craftsmanship, which the rest of us can only look on in awe and wonder - hoping it inspires us to make our own stuff a bit better as a result.

Now at the painting and finishing stage. Photos in Patterson's book show that the Unit was a couple of shades darker than 'wagon grey', so have hand painted the top coat in Humbrol No 27. Underframes are my usual weathering mix of matt black, 133 brown and gunmetal 53. It now needs weathering, but before that will have to work out how i'm going to do the lettering. A bit of research into transfers [either home made or suitable commercial fonts/colours] is required.

Nice one, Mike, the backscene successfully ties the individual scenes together.

Fab. love the colours.

Back in my [primary school] teaching days, I always told the kids to paint what you see, not what you think, whenever we did any observational work. Therefore direct observation is the key, though this inevitably also means using photographs, both of which introduce a range of additional parameters. Season/time of year, plus time of day and weather will all influence colour tones, while the period in history being modelled is also important, for what is in the landscape is continually being influenced by humans. When using photographs, the above also applies, plus the caveat that early colour film was significantly slower than today, so tones may not be accurate. Then there is lighting on the layout itself. Fluorescent tubes are notorious for flattening colours, so the old maxim of modelling in the same light you are presenting in applies. A further issue lies [quite literally] in the eyes of the beholder - not just degrees of colour blindness either. Men's eyesight increasingly sees shades of green less well as we get older, so getting the opinion of your significant other may be of value - as well as when getting dressed in the mornings... So, research your subjects carefully and don't rely on memory. Indeed, even with the verdant shades which come from Ireland's plentiful 'liquid sunshine', I'd advise going for more subdued tones than you might first think. Colour fades with distance, so the smaller the scale and the wider the baseboards, the lighter the tones need to be. That especially goes for back scenes. Also, whatever materials you use, aim to blend as much as possible. Personally, I never use a single shade of scatter or fibre and with electrostatic fibres often have three or more colours mixed together.

That is one serious piece of gingerbread. Very intricate, very impressive.

My fault, I'm afraid. Got an invite last year, filled in the form, but didn't put the date in my diary for some reason. Hence when details arrived in the post last week for second weekend in May, it was a bit of a shock as I am already committed to stuff with family and friends that weekend. Not good though, when the layout features in many adverts... Many shows do actually confirm attendance after you've sent in the form, but not all and I was caught out earlier in the year, but in that case was actually free, albeit at short notice. Doubly disappointing, as I visited the Derby works open days many times in my 'spotting' days. Next year, hopefully. So, apologies if anyone was hoping to see the layout there and in particularly to the show's organisers.

The two part resin from Easy Composites lasted over four years, but the new stuff looks different, so who knows. Have already used a fair bit in the first week, so fingers crossed! The mould making stuff definitely has a shelf life, less than six months once opened, then it won't set. Traders Hobby Holidays recently told me they no longer stock it for that reason. Shame, as mail order costs really jack up the price.

It has been three weeks since I did much modelling, unusual for me, as I like to keep things ticking over. However, home decorating and school governor duties took precedence, plus I was held up by a lack of casting resin. Easy Composites did not have any of their basic stuff in stock and the more advanced type needs a 'de-gasser', so I had to wait. Anyway, casting resin arrived on Monday, so have been busy running off sides and ends for CVR wagons. I'd made the masters & moulds a while ago, so could get on with producing parts for cattle wagons, dual purpose vans and goods vans, plus a CVR brake. The latter I'd already had a go with using the last of my old resin, but am not convinced the castings are as sharp as they could be, so have only made up one for now. It looks ok, provided you don't get too close! Construction involved glueing the sides and ends together [cyano], then mounting on a base of 60thou plasticard, this in turn being fixed to a standard Branchlines etched chassis. Foot steps [two each end], various hand rails, glazing and a roof were then all that was needed - plus couplings and I still need to psyche myself up to add the safety hooks and chains. Fiddly ain't the word. It will eventually get a fair bit of weathering, though not until I've worked out a way to produce the CVR logo. I also cast the bonnet, radiator grill & cab roof for the Unit. The first two have been fixed in place, but the roof must wait until I've painted the cab interior, added a driver & done the glazing. However, it is nearing completion, so the next time you see it, hopefully it will at least have been sprayed with primer.

Finally got round to completing my first CVR brake - though in truth it still lacks lettering. See my workshop pages for more details.

Indeed, best wishes Seamus.

They are indeed very good models. We had Sutton at last year's Chatham Show & I can certainly recommend their products too.

Splendid work Mick. Well done. Reading JBs notes on livery, my MGW G2 was done using Martin Welch's standard weathering mix of Humbrol matt black, gunmetal 53, and brown 133 (used to be called bauxite). Depends how dirty you want it and don't have much knowledge of the condition Bandon engines got into. That said, with no undercover accommodation at Cork, they may have been pretty grimey.

That loco shed is lovely.

Yup, salivating again...

Only just read your thread, Tony, but there is no doubt that space, or rather lack of it, is the bane ofany modellers. However, a small layout can make an excellent project because you will see good progress and it can always be incorporated into a larger scheme later. Much also depends on what you want to do. Personally, model making is my thing and I only operate my trains at exhibitions, but as others have already suggested, you can nevertheless get a lot of operation even from a small layout. What you don't get is the chance to sit back and watch trains go by on a continuous run. Try and get hold of Iain Rice's latest book 'Cameo Layout s'. It is crammed full of inspirational ideas for the space starved modeller. One other thought is that smaller layouts get finished quickly, so you can soon start thinking about building another one! Oh, and Omagh North is indeed coming on very nicely indeed.

Cassettes for me too, Tony. They may be short, but you can have as many as you like. The Peco loco lift is another alternative.

Done more ballasting than I care to remember, B, but it pays to take your time and go carefully. The best ballast for me is Woodlands Scenics. Fairly light in weight & nicely graded, it takes well to the diluted PVA with a drop of washing up liquid method. Re size, I'd always advise using a grade smaller than the scale suggested. So fine, rather than medium for 4mm scale. That said, current track ballast seems to be a bit larger than in steam days and it really does pay to refer to photos of what you are trying to portray. Likewise colour - study your prototype and don't be afraid to mix things a little. Once the ballasting is dry, don't forget to then weather the track accordingly. Where tracks approach platforms, there will be a build up of brake dust. Where locos are stationary, a built up of oily deposits. Don't forget to paint the rails and sleepers too, it really will make a difference to how your track looks.

Indeed Noel. Forever telling myself model making is not a race. Don't always listen though! These days, always try to stop while things are going well. So many times, the last job needs doing again next time. Great work with the airbrush.

Cheap and cheerful - love it. By the by Arigna Town will have soon knocked up 30 shows in just over three years. My points are wire in tube [as are the signals] and apart from replacing a couple of tie bars, has been problem free - so far, anyway...

Two little gems. Love the weathering.

The Unit is now taking shape - this last word being the key as I've been working on the very awkward bonnet and roof. After my SLNCR railcar and railbus, I ought not be daunted by such things, but the fact is, these shapes are [for me] difficult things to get right and where the Unit is concerned involves all sorts of rounded corners and angles. A drawing doesn't help much either - it is simply a case of filing away and hoping to eventually get it right. The photos are therefore as much an exercise is proof reading and I'd value comments on how they look, having spent rather too long staring at the things myself! Construction was simply a case of laminating layers of plastic sheet and then getting busy with files, emery boards etc. Once again, inaccuracies in the etchings are shown up, with the cab rear sheet being lower than on my drawing, while I can't help thinking the metal work above the windows should be deeper too. On a model as small as this, a millimetre or two can really make a difference to overall proportions. Note that, both roof and bonnet are deliberately slightly oversize, because I'm actually going to use them as masters for resin castings. First reason for this is I want to build the railcar, so have no wish do repeat several hours of filing & sanding if I can help it; the other reason is that the laminations can be seen, but once I've got a casting, these can be sanded away. I'm conscious that the cab beading is a bit on the heavy side, but will be rubbed down to a finer profile before painting. You can also see where I've used plastic strip to make the inner and outer sides of the wagon body match. At least the chassis is largely complete & painted. The main omissions are linkage to the sandboxes, a couple of inserts on the driving wheels, plus the pick ups, about which I'm still brooding...

Thanks for the info JB. Would I be right in thinking the front 'buffer beam' was red and would the underframe have been black under the grime? Currently have no info on what the rear end of the wagon bit looked like. Strapping, hinges etc. Also, the etches give a cab door a scant 4'6" high, with an empty space below to the wagon floor. This actually suits me as the motor gear box intrudes somewhat, so will need to have a load in there to cover it up anyway. Equally, if there was a box covering say the gear box, that would do too. Finally, for now anyway, am guessing two rivet/bolt heads on the wagon side suggest a step on the inside face. Must have been quite an effort getting to the cab!

... though a tad more reflective. Am afraid the Worsley etchings are still causing problems, but am coming round to the fact that maybe my expectations were a bit too high. Having not worked on an engine for a while, I'd thought doing a kit would be a good way to get back into it. However, this is certainly not a kit and I really ought to have done some more research and preparation before I started - not least comparing the etches with existing plans and photos. As the photos show, there is a deal more than the chassis being to long that is wrong, though am wondering if much of this is down to original drawings for a smaller scale being blown up to a larger one. That said, there are some things that are hard to explain, like the nearside cab window, the bottom edge of which should come level with the beading. At least this is easier to fix than the opening being too big and only requires a few minutes with a file. The bonnet is likewise too short [by a good six inches], but in this case the only option was to make two new sides from brass sheet. Not a disaster and again, only a few minutes work to cut out two new rectangles. Perhaps the most odd thing is that the outer sides of the 'wagon' body are bigger than the inner ones. The former are correct, but this means a section of inner planking will be needed to bring the inners level with the outers. The etches include various bits of strapping for the wagon side, but while these might be ok in a smaller scale, they are not chunky enough for 7mm, the representation of hinges being far too flat. The other problem is that the cab sides should have a small, but noticeable amount of tumblehome on the lower edges. The etches make no provision for this and I didn't notice until after the cab unit had been soldered in place. After a bit of head scratching, realised I could address it by using a slitting disc to carve a slot part way up each side, then bend them inwards and re-solder. Overall, I think I have been a bit spoiled by recent kit builds, where everything has gone together well. These etches are rather more 'old school', but once I got my head round the fact that a bit more work was required, then they represent an interesting challenge and are still a worthwhile timesaver over a total scratch build. The etches are now pretty much used up [apart from the radiator grill], so the rest is down to me. The top of the bonnet and the cab roof will need to be shaped [probably from solid blocks of plasticard], plus there are a fair number of minor details and the cab interior to add.

Air brushes need patience and practice - I still have to psyche myself up to get my one out and most of the time stick to automotive rattle spray cans. Seems to me that preparation and cleaning up time for an airbrush far exceed the actual time spent painting! However, there are things [like weathering] where nothing else works as well. I have an old loco body that I use for practising before I do any proper work. A couple of good books on the subject are the definitive 'Art of Weathering' by Martin Welch and the more recent 'Handbook of Painting & Lining' by Ian Rathbone - both Wild Swann. Just keep at it Noel - you already show a good sense of subtlety and that is half the battle.