David Holman

Can only agree with Murrayec. That is as concise an account as you could want. And it works. Just add, have used 5 min epoxy for white metal, it is less scary than solder, while many cyano glues do not like white metal at all and all that happens is you stick your fingers together instead... Re cutting out etched pieces, I get by quite happily using a heavy duty craft knife. Works for me anyway.

Fear not sir - the amount of stuff both decreases and increases with the size of the layout. So a four foot self jobbie will go in the boot of the car with one or two lights and box of bits no problem. Something like Gresley Beat requires two seven ton trucks, which just doesn't bear thinking about, but the team obviously enjoy it. Once had a 7mm ng layout on three 90cm x 45cm boards, which included folding legs. While set up time was an hour, by slowly packing away stock at the end of a show, it was in the car in 15 - 20 mins. As for curtains, one of the best ideas I've seen was on a Hornby tinplate layout.nthey used tea towels which had clearly been gathered from preserved railways. Looked really good and a nice change from plain black.

As it happens, all but two of my 12 layouts have been English, Warbonnet, though only one was BR. That is the previous project, Eatonswell, which is East Anglia in the late 50s. Will post a few pics soon, though they need compressing as they are all 5m plus. All the rest were light railway and/or narrow gauge practice. Have always been a fan of the Colonel and we do share a name of course! Could easily be tempted by all your ideas, JB, especially after visiting Achilles and Clifden last year. Blessington would make an unusual and attractive project too, while Kenmare has long appealed, as does Timoleague and Courtmacsherry, this now very do able thanks to the Tyrconnel kits. One day...

The shays run beautifully, Warbonnet. The sound is very effective on the HO one, but it did need fine tuning to get a decent effect. That was an interesting project in itself. The tsunami hand book runs to over 200 pages! The On16.5 sound can be even better, because you can fit a bigger speaker which deepens the resonance. Must admit, it took me months to even realise there were non Irish sections to the site. Was amazed to see 15 000 though, which is why I was surprised there were no comments either way, especially as I haven't come across the 'dual scale' concept anywhere else. Probably only works on a micro layout like this, but does give me the chance to operate both sets of stock . Equally, with Arigna Town almost finished, thoughts turn to a fresh project and there are a fair few ideas to fill the space Dichotomy presently occupies. Maybe even Irish 3'...

Am slightly surprised to see that there have been 15 000+ viewings of this layout, but not one comment - good, bad or indifferent. Am considering selling it to make room for something else. Anyone interested? If so, will put an ad in the 'for sale' section.

That is just fab and the low level photo really sets it off well.

Love the signals! Do they work? If not, try getting hold of the latest Model Railway Journal, where Derek Munday has some interesting ideas on such things using servos

No idea Stephen, but Slaters do a nice 7mm scale version. The notes say they were short lived, mainly as they needed access to both sides. One would hope a 4mm version might be available somewhere.

These are the cranes I mentioned at the Dockyard & which the late Ted McIlroy made fully working 7mm scale models of. See Mayner's blog/thread on the Fenit branch. As for exhibiting... The amount of other stuff that the exhibitor needs to take with him/her is considerable and no doubt I am not alone in being neurotic about leaving something vital behind when I go to a show. So, along with the baseboards, trestles or other supports, plus lighting and pelmets, what else needs to go? Starting from the ground up, we need a set of drapes, to hide the baseboard legs. These days, they should be fireproof and not be within 15cm or so of the ground. Thankfully, my drapes have been recycled over several layouts, though I still rely on drawing pins [and sore thumbs] to fix them in place. Velcro one day… Electrics come next. Most shows only give you a single mains socket, so that means several additional multipoint leads. Arigna Town needs four points for its lights, plus one for layout power, two more for buildings, plus at least two more for the spare controller [wheel cleaning] and a soldering iron. And this is a relatively small layout. Generally, this all goes in what I call my ‘sundries box’, which also includes odds and ends like pieces of plywood [for packing layout feet], eight clip-spots, screwdriver, gaffer taper, soldering iron and a plastic box with all the M6 bolts and wing nuts which hold the various fittings in place. The latter something I dread leaving behind! An additional ‘box’ is an old brief case, which takes the transformers, hand held controller [Gaugemaster], spare controller [H&M Clipper], uncoupling hooks and an A4 file with layout info. One set for me [the wiring diagram amongst it], the other basic info on the layout for folk who might want to invite it to future shows. Then there is the ‘tool box’. This is my long suffering cantilever box with all my modelling tools, plus a range of minor bits and pieces. Essentially, if I need something that isn’t in there, I can only hope there is a tool stand [like Eileen’s Emporium], or I’m stuffed. That said, if the layout is well built, then nothing should go wrong, but given the state of British roads these days, I am often amazed that the entire layout hasn’t been reduced to kit form, long before I arrive at the destination. Will be fascinated to know what other folk take & any ideas on keepimg things to a minimum. For me, this is the key difference between the owner/operator [who has a couple of mates along to help at shows] and the group layout which may well arrive in a large van or even a 7 tonner. When Mostyn Yard [a splendid P4 opus] arrived at Chatham last year, the team spent at least 5-7 hours setting up and knocking down. Much as I admire that sort of dedication, I like to be away within an hour of the show closing & the record was actually just 15 minutes, with a 3 board 7mm NG layout.

Interesting - was at Chatham Dockyard's transport festival today and took a couple of pictures of their steam cranes, one with its bodywork removed to show the innards. Haven't mastered posting pics here yet, so you can find it on my next blog. Sorry about that.

At exhibitions, I often find myself paying as much attention to how a layout is built, as its scenic 'face'. This is because, despite many layouts and many more shows, I am still trying to find ways of making transportation & setting up simpler. My preferred favourite [not yet built I might add] would be an inflatable layout, which could be taken to shows in a carrier bag, but be able to be blown up to many times its deflated size... This is probably some way off [would need inflatable stock too!], so over the last three layouts have used the same set up. This is the 'Ulysses' frame, devised by Iain Rice in his Small Layouts book. My version has folding trestles, linked by pairs of longitudinal beams. The latter are around five feet long and are bolted together at their ends, which provides reasonable stability. Angle plates at one end of each beam fit into the slot at the top of the trestle. The photos show the layout set up in the living room [wife out shopping], so I could fit the lighting posts/pelmets and check the levels of the baseboards on the beams. Thankfully, all went well, so the last couple of days have been spent painting the rear and fascias of each board & am now starting the lettering for the pelmets.

Did some web browsing on how to get power to the turntable tracks. Our American cousins seem to favour using a stereo jack plug as the main spindle and routing two wires from this to the rails. The other main method is to use the circular rail the table runs on and wiper pick ups to the deck rails, as per your locos. However, the Dapol kit is all plastic, so decided to have another go at my own method, which happily seems to work ok now. I've put two phosphor bronze wires in copper tube, through the wall of the turntable well, just below where the running rails are. The PB wire is bent to rub on small brass squares epoxied to the girders. Leads are then soldered to these and the deck rails. Provided the table is always rotated the same way, the PB wire contacts the brass squares and power from the track is taken to the table deck rails. This happens only when the track is aligned, so there is no danger of the loco running away when the table is half way round. with 'pick ups' at both ends there is a bit of 'belt and braces'. It seems to work for now - just hope it will prove robust enough in exhibition use - I estimate the table will be turned at least 50 times a day at a show, so time will tell.

I may be wrong, but looking at the ‘My Layout’ pages, most contributors have what might be called ‘home layouts’ – in other words, non-portable ones. Well done the Wexford crew though - a nice surprise in the latest RM. Arigna Town was designed from the outset to be a portable, exhibition layout [as indeed have all my previous efforts] and, aside from the obvious issues of needing to be taken apart & put together again for shows, there are various other aspects, such as transport and presentation, which need to be considered. Therefore, thought it might be worth sharing my experiences of taking layouts to shows over the last 27 years. That last number is a bit scary, but it was 1987 that I first tried exhibiting, with a little EM gauge layout at the Chatham Show. Arigna Town is made up of 4 identical baseboards, each a nominal 120cm x 60cm. Curved and/or irregular boards may be ideal for some, particularly in portraying a specific prototype, but for me, baseboard size & shape is all about transportation and storage and this size is about the biggest I can manage on my own. However, when you exhibit a model, there is a lot else that needs to go with you. Legs, trestles or whatever, for it to stand on; power supply, controllers & such, your stock [which needs careful protection], plus a host of sundries including tool box and items for presentation – in particular lighting. Most exhibition halls will not be bright enough to show off all your hard work & indeed may not even be the right sort. I do my painting under normal household bulbs, so when seen under fluorescent lighting, the colours look all washed out. In recent years, have settled on ‘clip-spot’ type lights, set on gallows type brackets, bolted to the rear of the layout. The clip-spots [i have 8 in all] provide good light, but the gallows brackets were a pain to both store and transport – it is surprising how much room they take up. Hence, have now made some folding brackets, which will hopefully solve that problem. The gallows will also hold the layout pelmet – more of which later. Hopefully the pictures help. In the coming week, I will be having a trial run to see how everything fits in the car, so will let you know how I get on.

The whole Fenit track plan would make a very good basis as an exhibtion layout. Am surprised Iain Rice hasn't drawn something as looks right up his street. The pier and causeway are just as interesting Chatham dockyard has several mobile cranes and former member Ted McIlroy (sadly killed in a road accident last year) built 7mm scale models of two of them. He used RG4 motors to enable full operation - they could move along the track, while the jibs could lift and slew, plus the cables wind up and down. Contro was via additional pick ups on parallel rails, as this was per DCC. Utterly exquisite, they worked beautifully and would have looked fabulous on something like Fenit pier.

No not the nether regions of my maiden aunt, but the operator's side of the layout, plus a peek underneath, though am sure there was an Ealing Comedy on a similar theme & no doubt one of you out there has an Aunt Arigna with a large flat rear... As you might have gathered, the layout has been turned round, so the operating side is facing outwards in the workshop. This is because most of the scenic work is complete, so wanted to spend some time making sure it will be operationally sound for Chatham in June. First job was to complete the links for the signals. The photo shows the wire in tube and cranks to the edge of the baseboard. Copper tube and steel piano wire have been used - all a bit crude, but it seems to work and the signal can be lifted out to avoid damage when the layout is transported in the car. Next job was to enlarge the holes for the point control. The same wire in tube, but on the baseboard surface [under the scenery] this time. however, the initial holes drilled were too small to get my fingers in to pull/push the points, so these have been enlarged. A couple of points were VERY stiff, but turned out to be a bit of over painting & they were cleared fairly easily. Have therefore been test running stock & so far, all seems well. However, will do a lot more testing as previous experience shows that there will always be one or two movements that result in a wagon derailing for no apparent reason - usually at a show when a video camera is running - so it is important to try and weed these things out beforehand. One immediate problem is with the turntable, as the pickups to get power to the track on the deck are proving temperamental. Indeed one wire has already broken, so a re-think is needed. Can eventually see me having to cough up for a metal version [Metalsmith do one for around £100], but at the moment, at least the hand cranked gears are ok, but a 'table is no much use if you can't drive a loco on or off it, while for the Railbus, it is an essential. Any ideas on powering the track on a plastic [Dapol] turntable welcome! Currently am using phosphor bronze wire wipers rubbing on squares of copperclad at each end of the deck, but open to suggestions.

Well worth it, Warbonnet. As you say, a grand venue and a really eclectic mix of models. Always something for everyone. Best of all, lots of space, both for big layouts and to help avoid the rucksack luggers. A good day out.

Your comments are very much appreciated folks! Mayners note about speed of construction set me thinking and he is right, the loco took just five weeks from start to finish and in one of those I was away on holiday. So, less than 30 days. However, I am currently increasingly retired from work, so estimate I was doing around 3-4 hours most days. That means about 100 hours overall, which seems to be about par for a 7mm kit. Perhaps I need to get out more(!), though with the winter modelling season coming to an end (and work on the layout moving to presentation fot it's first show), then it might be a while before a new project starts on the workbench.

The paint may be simple, but the application is splendid...

In the absence of an air brush, the two main options are weathering powders and dry brushing, Sean. The Art of Weathering, by Martyn Welch [Wild Swan] is the bible for all things dirt related and hasn't really been improved on, not least because it tells you which colours to use. However, the latest BRM has an interesting article on the topic, with a decent job done with just three colours! If you use acrylics, then it is possible to wipe off any over painting with a cotton bud dipped in water. White spirit does the same for enamels. coaches tend to be kept fairly clean above the sole bars, so the standard 'frame dirt' mix [or Precision ready made] will work fine. I use powders on my wagons and don't worry about sealing them with spray varnish. minimise handling & you'll be fine. However, did try both spray varnish and artist's fixative [for pastels] recently. All that happened was the body colour darkened, with no sign of the weathering I'd put on. Maybe you need to be heavier with the powders for this? Either way, suggest you first experiment with a wagon that 'doesn't matter'. Likewise, get a cheap loco body from a swapmeet and practice on that. Other big tip is 'paint what you see', so use colour pictures and try to imitate the effect. Needn't be the exact vehicle you have a model of, but will certainly help you get the right effect.

Apologies Sir - just re-read your notes and realised what you mean. Ticklish job to adjust though - having cleaning the dirt off the plates, it may well be I have to put it back on again.

Not sure about the colour of the nameplates & happy to stand corrected there, but the loco is definitely not Lough Erne, as that was one of the two Large Tanks, got on the never never from Beyer Peacock in 1950. Fermanagh was one of the original small tanks from 1882... The nameplates came with the kit, so let me know if the colour needs changing folks, as that was how they were in the packet. So, thought the model was complete, but maybe not! Latest pictures show the results of weathering, plus glazing and final fixing of cab roof. got the air brush out for the weathering. It is a Badger 150 and a mix of 2 parts Humbrol Metalcote Gunmetal and one part Precision Tarmac, thinned 50% were sprayed on, followed by a lighter dusting of Humbrol leather. After that, out came the weathering powders for some final detailing. Last pictures show the model on one of its two duties that are shared with Hazlewood, namely the daily mixed train. The other is the general goods. That is that for motive power for now - at least until after the Chatham Show in June. Still fancy doing Sir Henry...

Keep it going Phil, it is all good stuff so far. I have just joined the Irish Railway Record Society. Journal has just arrived with some super photos of Bord workings and your models very much Ok the part.

It is a tangled web we weave John! Gauge 1 seems just as varied as G - almost as mad as OO/HO and Trix Twin, which I think was 3.8mm/ft... A case of if it works, don't fix it, I guess.

Halford's spray cans [grey primer, then matt black] were used to paint the separate boiler and tank/footplate units. Left overnight to dry, the parts were then re-united and bolted to the chassis and bogie unit. The strapping across the tanks was then added, after which the final, post painting, bits and pieces could go on including buffer heads, couplings and safety chains. The latter were probably the most fiddly part of the whole kit! The exquisite name and builders plates came with the kit and are from Guilplates. Photos show just how very black a spray of matt paint is - quite a contrast with the already weathered chassis and the work weary Hazlewood. Fermanagh was withdrawn in the early 1950s, but one would hope that the existence of the Arigna branch would have prolonged its life and the model with be more lightly weathered than Hazlewood, assuming a general overhaul at some point.

Well done sir - though really only four as the strapping across the tanks will go back once the paint shop has been visited. After 54 locos, this is the first time I have built two the same, so small details count! The paint job will also be significant as aim to make Fermanagh cleaner.