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Could you have also cut out the outline of the walls and the door and window apertures with the Cameo cutter?

 

Is it the Silhouette Cameo 3 by the way?

 

David

Yes and yes. The doors are paper overlay on card, cut with the the Cameo. The test window frame was cut in the same way from paper, I just need to be more careful with the window bars and the glue next time. Here are some horrible close ups.

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Whilst work progresses (skowly) on the station building I have now finished weathering a couple of small huts for use on the layout, one plastic kit and one white metal. Aiming for a bit of an unloved appearance. Weathered using acrylics and weathering powders.

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  • 3 weeks later...

After a couple of weeks off I did a little bit of work on the station approach roadway and entrance into the yard. Hoping to start painting the back scene soon, as well as more work to finish the station building. I should also have to think about track laying as well soon.

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I shall probably regret doing it this way but I have decided to share stage by stage the work on the backscene which may be of interest if it turns out ok. The material is from a kitchen roller blind glued to the wooden backscene. I have my copy of the excellent book by Paul Bambrick and some reference material for the sky and the hills.

 

Before committing to the final painting I have roughed out where the horizon line may be to see if it fits ok. I plan to have the join between the backscene and the baseboard masked with hedges, fences and other view blockers as well. This is stage 1 then before I paint the sky base colour.

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Sky painting. Firstly a coat of Matt white allowed to dry overnight. I then used Homebase Cobalt blue for the top of the sky, then blended with some white as it gets closer to the horizon. Applied with a mini roller the tricky bit was blending the two together. Once dry I shall pencil in the horizon line and start painting a few clouds and basic field contours.

 

Shame about the bubbles but I plan to mask most of those with carefully placed low relief trees

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Always hard to tell colours on a PC but I am a great believer in a pale sky unless deliberately trying to model a brilliant summer day. To my mind a backscene should be invisible - i.e. nobody notices it is there because they are focused on the model that it is enhancing.

 

...R

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Always hard to tell colours on a PC but I am a great believer in a pale sky unless deliberately trying to model a brilliant summer day. To my mind a backscene should be invisible - i.e. nobody notices it is there because they are focused on the model that it is enhancing.

 

...R

I agree it looks darker in the photos than in real life. I shall fit the lighting bars to the facia and see what it looks like then, I can always go over with a pale blue wash to tone things down, it's all a bit trial and error and this stage. This is the sky from my Stanton diorama, I was aiming for a bit more colour graduation from top to bottom this time.

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A bit more sky now with the lighting installed. This is a Wickes LED kitchen light set with 4 12" LED strips, cables etc. It's just plug and play so to speak.

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Edited by PUASHP
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Impressive clouds! Would you mind saying a little about how you achieve them?

Background colour is a pale blue emulsion mixed with some white and applied with a roller with some more white rollered in to give the distant hazy clouds. Thicker clouds are painted with pure white acrylic using a small makeup brush. The paint is slightly thinned for the body of the cloud, neat for the highlights on the top and with the merest amount of grey for the shadow underneath. Best to use a different brush for each colour to avoid contamination.

 

Take some photos of clouds and then copy them trying to be really subtle building up the cloud slowly. The clouds nearer the horizon line are smaller looking and closer together almost merging into one. I still have some tidying up to do before starting on the the other board.

 

Glad you like it.

 

Paul

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Background colour is a pale blue emulsion mixed with some white and applied with a roller with some more white rollered in to give the distant hazy clouds. Thicker clouds are painted with pure white acrylic using a small makeup brush. The paint is slightly thinned for the body of the cloud, neat for the highlights on the top and with the merest amount of grey for the shadow underneath. Best to use a different brush for each colour to avoid contamination.

 

Take some photos of clouds and then copy them trying to be really subtle building up the cloud slowly. The clouds nearer the horizon line are smaller looking and closer together almost merging into one. I still have some tidying up to do before starting on the the other board.

 

Glad you like it.

 

Paul

 

Thanks for that Paul. I have always been reluctant about painted backscenes but with artistic skills like yours my doubt is put to shame. I like how you have captured enough detail in the clouds to ensure realism, yet keep them hazy enough to not be overpowering.

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More updates on the back scene. Started putting in the distant hills by the road bridge. I need to add some more hedges and trees later and perhaps a pale wash over the hills nearest the skyline but it's a start.

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Edited by PUASHP
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Still early days but work is progressing on the background hills. Colour is a mix of leaf green, sap green, pale olive green, buff titanium, white and paynes grey.

 

I shall leave it to dry before coming back to it tomorrow to add more detail to the field boundaries and add a bit of variety with some crops etc, before toning down the distant fields with a pale wash. I also want to improve on the tree line in the foreground.

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  • 2 weeks later...

Slow progress so apologies for not posting for a while. Work progresses on the sky for the other station board and I have laid my first bit of track was well. This was laid with the Norman Solomon method, namely applying the pva glue to the foam base and laying the points wet before adding ballast. As long as you are careful it's a 100 times quicker than laying the track first and a lasting later.

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Your backscene is sublime. Do you work on it fixed where it is or is it in any way removable to work on on a flat surface? I only ask as my back and arms protest if I have to reach over my layout for any extended time.

 

I have noted your tips too, to try some improvements on my own efforts!

 

Thanks,

Martyn.

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Your backscene is sublime. Do you work on it fixed where it is or is it in any way removable to work on on a flat surface? I only ask as my back and arms protest if I have to reach over my layout for any extended time.

I have noted your tips too, to try some improvements on my own efforts!

Thanks,

Martyn.

Martyn,

 

Unfortunately the backscene is fixed to the layout but with each board only 3 x 1 foot it's not too bad. I have started with the backscene so if I make a mess on the board then no issues. I tend to find 2 hours to be the most I can manage in one go then come back to it the next day or next week. It's a slow process to build up the depth. It makes a big difference when painting to make sure you have the final lighting conditions that the layout will be viewed as the colours will be different.

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Looking to match up the back scene with the foreground so did a bit of a static grass test to give me a colour to match to.

 

This is a mixture of summer green and straw colours from green scene in 4mm and 6mm green, with a touch of added lush green just to add a bit of depth of colour. Next up the difficult bit to match this colour on the painted back scene.

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