David's Workbench

[Mol_PMB]

Wonderful! Superb workmanship and finishing. No need to be scared of the airbrush when you can achieve that.

[Tullygrainey]

What a great opportunity David! Gordon Gravett is up there with Iain Rice and Mike Sharman in my list of railway modelling heroes. Though I never managed to see Pempoul in the flesh, for me it took modelling to a new level the first time I saw photos of it in BRM. And later, Arun Quay was equally impressive. Sounds like Ashford was a great show.

The Swilly tank is brilliant. Perfect weathering job. You've definitely achieved the look you were aiming for. Totally convincing. The rods and wheels are just right for a well used loco. I know what you mean about airbrushes. It takes a deal of courage to spray a weathering mix all over a pristine model. Something I haven't yet had the guts to do! 

[Galteemore]

Have to say that you have brought more than a touch of Gravett magic to the Irish scene David! The locos look fabulous. 

[Rob]

Amazingly realistic-  well done!

[David Holman]

Thanks folks. The air brushing took all of two minutes, though I did practice on bits of card beforehand to try and get the spray pattern right. Truth be known, it looks ok with the two foot rule, but close up, it could be better. Must make sure I request barriers when the layout goes out again!

 Going back to Gordon's masterful work, have come to realise that time is never a factor in what he does. Apart from the obvious skill and experience, he simply works on stuff until it is right - and if it takes more than one go, so be it. Indeed, he will often practice extensively before making the actual model or component.

 One example he told me last weekend was about Pempoul's track. The Reseau Breton was metre gauge, while the layout uses EM (18mm) track. Not quite correct, because the scale used is 1:50, but a reasonable compromise. The track itself utilised S scale components: code 98 bullhead rail and cast whitemetal chairs. Gordon assembled everything using aradite. Not the 5 minute stuff, but the full on 24 hour setting version. Immensely strong, but requiring numerous half track panels to be assembled one at a time, over many evenings!

 I guess we all have certain things we are happy to spend more time on than others, but the very best modellers do it on everything - and there, I think, lies the difference. Add in skill, experience, knowledge, vision etc and you get the very best of the best.

[Galteemore]

32 minutes ago, David Holman said:

Thanks folks. The air brushing took all of two minutes, though I did practice on bits of card beforehand to try and get the spray pattern right. Truth be known, it looks ok with the two foot rule, but close up, it could be better. Must make sure I request barriers when the layout goes out again!

 Going back to Gordon's masterful work, have come to realise that time is never a factor in what he does. Apart from the obvious skill and experience, he simply works on stuff until it is right - and if it takes more than one go, so be it. Indeed, he will often practice extensively before making the actual model or component.

 One example he told me last weekend was about Pempoul's track. The Reseau Breton was metre gauge, while the layout uses EM (18mm) track. Not quite correct, because the scale used is 1:50, but a reasonable compromise. The track itself utilised S scale components: code 98 bullhead rail and cast whitemetal chairs. Gordon assembled everything using aradite. Not the 5 minute stuff, but the full on 24 hour setting version. Immensely strong, but requiring numerous half track panels to be assembled one at a time, over many evenings!

 I guess we all have certain things we are happy to spend more time on than others, but the very best modellers do it on everything - and there, I think, lies the difference. Add in skill, experience, knowledge, vision etc and you get the very best of the best.

That’s most interesting David. One assumes that Gordon just imagines something and it appears perfectly formed in front of him! I know I’ve been guilty of the ‘it’ll do’ approach too often..

[David Holman]

Me too!

[Tullygrainey]

And me!

[David Holman]

Stuff!

 A combination of Mayner's writings and a weekend with Gordon Gravett, has prompted a serious look at my exhibition stuff, in an effort to tidy things up and make life a bit better than 'it will do'. A big problem with going to shows is that [for me anyway], however good the intentions going out, coming home tends to be a bit hit and miss. I keep a record book to note everything that goes wrong, but this means I'm more reactive than proactive. All a bit C minus, must to better!

  So, first up, did a bit of an audit with the aim of trying to be more preventative.

 Something that has had me worried for a while is the sliding/rotating fiddle yard. It's a bit of a nervous breakdown every time the train table needs rotating and though I'm [fairly] sure everything is safe, decided a bit of belt and braces was needed - hence a couple of wooden blocks screwed to the frame so that long bolts can go through the beams for a bit of extra security.

  Also decided a new, separate storage box was merited for all the electrics - instead of chucking them all in the 'sundries crate' at the end of a show.

 As Mayner has already pointed out with his large scale garden railway stock, our models can lead a hard life and so it is with exhibitions - mainly down to getting things in and out of boxes all the time. Going through my stuff found a host of minor problems, plus several niggles like loose cab roofs and so on:

 Above is the under frame of Railcar B, missing one of its struts. Below is one of the exMGWR 6 wheel coaches, lacking a cover to the guard's Duckett.

 Discovered several wagons with missing bits of under frame, brake handles & so on,  while even Wof Dog wasn't immune, having lost a step from its tender.

  None of the remedial work took long to fix - though the repairs still need painting and there are a fair few other models that need a bit of touching up as well while I'm at it. As stuff goes back in the stock boxes, I'm also taking time to make sure each of the sections is secure, including the all important pieces which protect the Alex Jackson couplings.

 Decided it might also be a good idea to have a spare Tortoise point motor - just in case. They rarely go wrong, but you can be sure if the do, it will be at a show! Fairly easy to fit a new one - though probably not from underneath the layout...

 Finally, a neat little idea I learned from Gordon at the Ashford Show. It's his track cleaner, which uses a barbecue skewer with a hole drilled in it to take half a cotton bud. Soak the bud in meths/alcohol/lighter fluid and it becomes a very handy way to clean to the rail tops.

[Galteemore]

Some great tips David. Great to see NPQ gearing up for a trip out!

[J-Mo Arts]

It may be of mild interest/relevance for your 3ft projects that Bachmann have just announced they are selling their 7mm scale chopper couplings separately. 

https://railsofsheffield.com/products/bachmann-76-001-narrow-gauge-ng7-straight-chopper-couplings-x4

Other retailers are, of course, available. 

[David Holman]

Thanks Jamie, definitely worth a look.

 

[David Holman]

Seems like not a lot of anything creative going on chez moi for a while now - mostly down to getting stuff ready for Railex. Next on the horizon is the Chatham Show in July - essentially more exhibition stuff of which more in a moment. First though a [very] small package came through the letter box the other day - the final piece of my Swilly 4-6-2T. It's the builders plates I'd ordered. And very nice they are too, so thank you Narrow Planet.

 Stuff for the Chatham Show now revolves around the Club's 0 gauge layout. Called North Circular, it is a 10m x 4m double track oval, based loosely on the Tottenham & Hampstead line, but in this case deemed to be following the approximate route of the North Circular Road, hence the title. The concept [dreamed up by yours truly] is to allow pretty much most trains from the BR 1950s and 60s to run in a simple setting. Apart from the storage loops at the rear, it is all plain track, with no points, though the ground levels vary so we have cuttings and brick arch embankments. It is all built to a moderate standard, with most buildings using brick and slate papers, plus commercial windows to make life easy.

 However, we decided that a back scene would be important. This started out as a pale grey sky [white emulsion & black acrylic], but the creative muse got hold of me & decided to something more creative, essentially a mix of urban scenery, ranging from parklands to housing and industry. Nothing too fancy, just an impression, so stippling acrylics for distant trees, with slate roofs poking out between/above, then a mix of felt pens, water colour pencils & the like for the details.

 There are 15 boards in total, four of them 1.2m x 0.4m, the others 0.9m x 0.4m, so quite a task. The pictures below give an idea of some of them & will post a few more when I get everything mounted on the layout.

 

[Tullygrainey]

That sounds like a huge job David but you’ve made a very impressive start. Looking forward to seeing more. 

[David Holman]

Seems like a fair bit of time has gone by without me actually making anything and not sure that the latest project counts for this either...

 Decided I didn't like the tension lock couplings I'd been adapting for Swillybegs, so ordered some DG etches from Wizard Models. They are the 0 gauge/7mm scale version and [unlike the tension lock adaptions] aren't handed, so should simplify shunting sequences. 

 Have made up a few for testing purposes and, so far, so good, though am wondering if I've used the right gauge wire for the loops. The instructions don't say, other than to use phosphor bronze. What I have is 0.5mm - does anybody know if this is ok, please?

[Angus]

Hi David, 

DGs are the chosen coupling in 2mm finescale circles with about 70%of people using them. 

My experience is to use as thin a wire as possible to form the loops. This is better visually but also operates better as the loops slide over one another easier. 

In 2mm the DGs come with thin phospher bronze wire which is also a bit springy. I'm guessing this also helps. 

Edited September 25 by Angus

[Angus]

Just measured the wire that comes with the 2mm couplings and it's 0.3mm diameter. 

I'd guess this would be strong enough for 7mm? 

[David Holman]

Interesting - thanks Angus. Just received some more etches from Wizard and they've come with 0.5mm wire, which is what I had in stock. Gradually getting used to what is, for me, the fiddly nature of the DGs, but having seen how well they work in smaller scales, decided I really ought to try.

 The good thing is that even if the 0.5 proves to thick, it will be easy to substitute something finer. As ever, hats off to everyone in 2 and 3mm scale!

[David Holman]

 A bit more on the DG couplings. This is just my experience, in 7mm scale at that and there are people far more qualified and experienced than me.

 Considering that, in 7mm scale, the whole coupling measures about 7mm wide by 12mm long, the 2mm scale ones must be tiny - though these are small enough for me. Also small is the price - an etched fret for 16 costs as little as three quid, though my versions are £6.30, so that's about 50p a pair...

 The etches are nicely done too, plus you get a coil of 0.5mm phosphor bronze wire for the loops too. 

 As you can see, there are fold lines etched in, with two separate pieces for each coupling, plus the loop. Once the main etch is cut out [craft knife], the main cross piece is folded down [pliers], which means the middle bit now sticks up and then needs bending back about 20 degrees. This forms the coupling 'hook', while the bit just bent down is the buffing plate.

 Next job is to cut out the other, smaller, etch. This is tiny [and must be minute in 2 or 3mm scale]. It is perhaps the only issue with the DG coupling as can't help thinking a few spares could have been included on the etch to cover the ones that can ping off and get lost. Already been there and got that T-shirt...

 Anyway, this smaller etch is the 'delayed action' part of the coupling, enabling a vehicle to be uncoupled and pushed into place without reconnecting. It needs about a 45 degree bend and then is fitted into the slot in the main etch, with the two lugs tweaked outwards to hold it in place. After that, the two lugs with the round holes on the main etch are bent down as these are what the wire loop is fixed to. It all takes less time to do than read this.

 The only other thing to do is make the coupling loop. For another couple of quid, you can buy a brass block which works as a bending jig. You wrap the phosphor bronze wire around this up to 15 times to make 10mm x 7mm rectangles. Once separated, each one needs a short piece of steel wire soldering to it. This acts as the dropper wire, enabling hands free uncoupling using below track electro magnets.

 Again, slightly fiddly, but you soon get into a routine. These wire loops are then sprung into the lugs of the main etch, after which the whole assembly needs to be chemically blackened with something like gun blue. All that is left is to then fit the coupling, using contact adhesive.

 Considering the small size of these couplings, not only do they look ideal for 7mm narrow gauge, I think they would make a fine alternative to tension locks in 4mm scale, being both discreet and offering hands free uncoupling.

[irishthump]

44 minutes ago, David Holman said:

 A bit more on the DG couplings. This is just my experience, in 7mm scale at that and there are people far more qualified and experienced than me.

 Considering that, in 7mm scale, the whole coupling measures about 7mm wide by 12mm long, the 2mm scale ones must be tiny - though these are small enough for me. Also small is the price - an etched fret for 16 costs as little as three quid, though my versions are £6.30, so that's about 50p a pair...

 The etches are nicely done too, plus you get a coil of 0.5mm phosphor bronze wire for the loops too. 

 As you can see, there are fold lines etched in, with two separate pieces for each coupling, plus the loop. Once the main etch is cut out [craft knife], the main cross piece is folded down [pliers], which means the middle bit now sticks up and then needs bending back about 20 degrees. This forms the coupling 'hook', while the bit just bent down is the buffing plate.

 Next job is to cut out the other, smaller, etch. This is tiny [and must be minute in 2 or 3mm scale]. It is perhaps the only issue with the DG coupling as can't help thinking a few spares could have been included on the etch to cover the ones that can ping off and get lost. Already been there and got that T-shirt...

 Anyway, this smaller etch is the 'delayed action' part of the coupling, enabling a vehicle to be uncoupled and pushed into place without reconnecting. It needs about a 45 degree bend and then is fitted into the slot in the main etch, with the two lugs tweaked outwards to hold it in place. After that, the two lugs with the round holes on the main etch are bent down as these are what the wire loop is fixed to. It all takes less time to do than read this.

 The only other thing to do is make the coupling loop. For another couple of quid, you can buy a brass block which works as a bending jig. You wrap the phosphor bronze wire around this up to 15 times to make 10mm x 7mm rectangles. Once separated, each one needs a short piece of steel wire soldering to it. This acts as the dropper wire, enabling hands free uncoupling using below track electro magnets.

 Again, slightly fiddly, but you soon get into a routine. These wire loops are then sprung into the lugs of the main etch, after which the whole assembly needs to be chemically blackened with something like gun blue. All that is left is to then fit the coupling, using contact adhesive.

 Considering the small size of these couplings, not only do they look ideal for 7mm narrow gauge, I think they would make a fine alternative to tension locks in 4mm scale, being both discreet and offering hands free uncoupling.

Nice work. I seriously considered the DG couplings for my own stock as I wanted handsfree uncoupling but I was reluctant because of the construction involved and ended up going with Kadees for all my stock.