This is all beautifully modelled; you must have been an accomplished modeller before you gave it up 30 or so years ago.
I simply have to say, Mike, that this is probably the most realistic method of producing brick work that I've ever seen - Scalescene's quality but with the bonus of embossed sheeting.
I'd dearly love to have a go, and therefore, hope you don't mind me asking:
a) what particular colours did you use e.g. burnt umber, sienna etc. ?
what implement did you use for a scriber - if, indeed, this is a purpose built tool, what make is it and from where can it be purchased ?
c) what type of card did you use?
d) what did you use as a stippler?
Sorry for the distraction, but this is a modelling 'opportunity' NOT to be missed.
Firstly thanks to my old mate Mick Nicholson for his posting above. I've said a few times but will say again, without Mick's archive of plans, photographs, etc. none of this could have been done. I don't know what happened to that Patriot but many of the techniques which were first practised on that model I still use, though I've learnt to build in brass and nickel silver, since then.
So, Jonte, the brickwork. Firstly I should say that I made my own for four reasons :-
1. On the model of Hessle Haven I wanted to concentrate on the railway and its structures, rather than the setting of the railway. So this model is very much about what lies between, or over, the railway fences. I'm not decrying any of the beautifully scenic model railways on here or anywhere else but that is the underlying 'ethic' of this model; it is a model of a railway.
2. The NER used a form of English Garden Wall Bond which had every fourth course as a bonding course i.e. a course of half bricks as they were layed end on.
3. That variety of colours of well worn and well weathered brick is something I have never seen on commercially available products, though it probably does exist.
4. I wanted the relief of the brickwork to show.
The card I used was actually old Yorkshire Tea boxes cut up into roughly 6" by 4" pieces. This is about my limit for a single piece and even then a card of this size has 3,000 + bricks on it. Clearly I use the uncoloured/unprinted side. Since then I have found other cards which are of similar thickness and which will take a scribed line without tearing the surface. In general, the thinner the card the better it scribes.
The card was then marked out in pencil with the horizontal and vertical courses. This took around half an hour for a 6" by 4" card. The scriber is one half of a compass (the drawing variety not the navigational one) with the point slightly blunted. The blunting is only very slight but this results in a groove rather than a scratch on the card surface.
Then it's just a very tedious job of using a good steel rule and scribing the horizontal mortar courses, which is relatively easy. The vertical courses are much more trying as it is very easy to make a mistake. I could scribe a 6" x 4" card in around three hours and two of those would do the structure shown in the earlier photograph.
I don't actually paint the scribed card, I make a paper tampon; much as printers used to use. This is a piece of clean kitchen roll tightly rolled up into a ball and then placed inside another piece of the same material. I dip this in paint, use it on a scrap piece of card to get rid of most of the paint and then apply it to the workpiece. The result is that the paint (watercolour gouache) does not get into the mortar courses. This process is applied with usually two or three colours :-
Firstly a rather bright orange, toned down slightly with a little burnt sienna. Even so this is the colour of new bricks.
Secondly a burnt sienna which is applied over the orange but which varies in its intensity of colour simply as it goes onto the card. This starts the process of adding the variety of hues and colours.
The third part of the process is to pick out individual bricks in white (saltpetre) and then blacks or very dark browns. It is surprising how few need to be picked out to give that realistic look.
When the whole panel is coloured 'to taste', still with the mortar courses largely card coloured, then I wash the whole lot with a very diluted mix of weathered black enamel mixed with white spirit. The white spirit actually cracks the water colour paint, just as real bricks acquire a cracked and weathered surface. More importantly this seals the watercolours and protects against any moisture.
On the bridges, especially where years of smoke and soot would accumulate, then I apply a wash of black watercolour which I paint on at the top of the piece and just allow to run down. A spot of varnish will them simulate water on the brickwork.
The card is cut for use with a craft knife (Stanley) with a new blade and the edges are always cut at 45 degrees so that they hide when joined.
There you go, that's how I do it.
You might think that this is a very long winded process and if I were making a long retaining wall or a cutting wall then I would opt for something much quicker. But where there are relatively few structures to build, then this does produce a result which gets as close as possible to real bricks.
The photos, below, show the basic card I used - usual disclaimers on this Company - and a piece which has been scribed and then coloured with the orange and burnt sienna. Having to repixilate this photo might lose some of the detail but you can at least see how the mortar courses have not been coloured.
And that colour of the bricks is just about right for structures which have stood for fifty or more years. This piece still has to be picked out with the whites, blacks, etc. and then washed down with diluted black enamel and sealed.