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Guy Rixon

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  1. If you really want a water course, how about a mill leat? They were often straight with vertical sides, and may be either steep, earth banks or faced in stone. The depth from bank to water level can be anything from inches to a couple of metres, spending on what level is needed at the mill. Surrounding buildings may be built right up to a leat, such that the side of the leat is a continuation of the wall of the buildings.
  2. Since Mike is trying to optimise these models, we might consider three points of fine detail. 1. Given that the planks look like they're starting to decay, are they perhaps a little too yellow? My eye reads the colour as plausible, but my mind suggests that wood that old might be greyer. 2. How much decay would the railway tolerate in floor planks before replacing them? Bear in mind that most of the floor planks in bolster wagons carry no load other then railwaymen climbing aboard while loading. 3. The sheeting and flooring of wagons is sometimes specified as "red deal". Does this imply an actual red shade to the timber before it weathers to grey?
  3. What's your problem with the painted floor? It look right to me. The less-weathered planks are fine. The split plank looks like wood that split and has started to decay along the split. The darkest plank looks like one that has warped lower than its neighbours, rot has started where the rain collects. The only part that look even slightly painted on is alongside the central ironwork.
  4. The yoof of our village have been gathering in the park to drink and flirt all the way through lockdown. Corona is their preferred beer, and I'm forever picking Corona-branded bottle-caps out of the grass. I don't think they understand about foreshadowing.
  5. I now have an acrylic match for my preferred purple lake. It's shown on the square test-panel in the top right of the photo. This picture also shows that in non-optimal lighting a lot of distinct mixes become indistinguishable; but in good light, I think I've got as close as possible. The recipe, using Vallejo acrylics is as follows. 5 parts Hull Red 3 parts Flame Red 2 parts Dark Blue 2 parts thinners 2 parts flow improver I don't know if the thinners and flow improver are changing the perceived shade, but they drastically improve the finish. The vanish does affect the perceived colour, in that matt finishes of this paint look systematically browner. I'm now in position to paint an entire train, once I get the old paint stripped off.
  6. Alan Gibson Workshop sell an underframe kit for this length and wheelbase. It's etched, with lost-wax castings. "They are designed for wagons having a steel channel solebar but can be adapted for wooden solebar variants", which seems to mean that you would have to build the wooden solebars from scratch. A PO mineral wagon would be 16'6" over headstocks, so not really suitable.
  7. Loctite 603 retainer would do it. Other retainers in the 6xx series may be stronger, fill greater gaps, or have better oil tolerance, but I doubt that these special features are needed for an outside crank. All the retainer resins depend on having enough resin in the joint to expand into a firm seal. They're not likely to work in an interference fit. A sliding fit and relying on the resin to centre the shaft in the hole is better. If using retainer, you might consider filing a slight flat on the axle such that the retainer fillet stops the crank from rotating. The setting retainer might pull the crank slightly off-centre, but there's a good chance that all the cranks will be pulled off by the same amount so the rods won't mind. Disclaimer: I have not tried this approach.
  8. I've had this problem too. I find that the varnish won't be glossy if it's in a thin coat over a matt surface; presumably the surface structure of the matt paint pokes through the varnish. Applying a thicker coat, by making sure that the newly-sprayed varnish looks wet on the surface, seems to work. I'd be scared to spray this heavily with a rattle can but it seems OK with an airbrush.
  9. The Golding drawing also has vent hoods for the doors that are squarer than the ex-SER style. It's a little like what would happen if ex-LCDR coaches were converted to EMUs. Was that ever done?
  10. The SECR specification --- I have access to a specification for a PBV c. 1900 --- is similar, but calls the top coat purple lake rather than crimson. It also identifies the undercoat as a lake colour, and requires two coats of top vanish over the purple. Since lake pigments are precipitated dyes, a wider range of colours is feasible than with mineral pigments. My guess is that crimson lake and purple lake really were different colours. At this stage, I'm happy with the colour I achieve with enamels. It's synoptic with the Gospel according to Bachmann and the Acts of the Preservationists. It's a nice colour, both lined and unlined. Nobody still living has seen the original colour (discontinued c.1912), so plausible guesses are fine. I just want to remake that colour in paint that's more cooperative and less inclined to eat my liver.
  11. Not entirely trusting the paint splodges as a reference, I sprayed a test-strip. Tamiya Hull Red on the left, Vallejo Hull Red on the right, Precision mix in the middle. Primer is Halfords red. Sprayed over primer, the acrylic colours actually look a poorer match for the enamel shade. The Vallejo colour is the better match, but that's because it is darker; it's still too brown. This is what I'm after; the van body shown a week ago, but now lettered and varnished. If I can do this in acrylics I shall be very happy, but I'm not there yet. I have quite a lot of coaches to paint soon. I shall probably just use up my enamel stock, but I might also buy some blue shade from Vallejo and try for a better mix. The Hull Red looks as I imagine the base coat for the purple lake of the full-sized coaches. It might do well for the SECR's later brown livery.
  12. New paint arrived today. The Tamiya "Hull Red" is a very close match to my enamel mix. Looking at the paint splodges directly, I can't see a difference, but the photo reveals the acrylic to be very slightly browner (c.f. the Vallejo Hull Red, above, which is redder). Since it would be sprayed as a light coat over red primer, I expect the final result with the Tamiya colour to be about right. And Tamiya paint is easier to spray than Vallejo, for me at least.
  13. I took some measurements on a later wagon in Bewdley. I'll post them when I can dig out my notes.
  14. Three revelations today concerning the painting. Firstly, the airbrush was spattering because its nozzle had split at the tip. I replaced it; they can be had urgently on Amazon Prime if one doesn't mind the price hike. Second, the old, split nozzle was still crusted with enamel paint, even after cleaning. The only way I could shift it was to poke in something sharp ... which is a good way to chip the nozzle tip. A pox on all enamels and their NTC thinners. If only I had a good alternative to my enamel mix for purple lake. I ordered some Tamiya colours to try some mixes. Third, the replacement paint was already on hand, unappreciated. I tested the new nozzle using Vallejo model-air "Hull Red". I'd originally bought this as an approach to purple lake, but abandoned it because it seemed too bright a red. It turns out that the paint changes colour with the depth of coat. A thin test-spray on white paper is very red, almost crimson. As the depth increases, the effective hue becomes darker, bluer and browner. After three lightish coats, it's almost indistinguishable (in daylight) from the enamel mix. I think it might be, quite literally, a purple lake! If it stays the same colour when dried, I shall bin the enamels. I just need to find spraying parameters that atomise the Vallejo paint well.
  15. Using the PQ9 thinners is supposed to make the paint dry more quickly. My tactic for de-splattering Precision enamels is to thin them a bit more than 60/40, then spray at at about 25 PSI (c.f. 15-20 PSI for acrylics) and at a greater distance. The higher pressure is supposed to improve the atomisation; I think it works. The quicker drying deters the over-thinned paint from sagging and running. The greater distance reduces the chance of flooding the model. All that worked fine until two days ago when it didn't and a model got ruined by spatter; much cursing. On inspection, the nozzle was firstly bunged up with traces of the enamel paint that hadn't been cleaned out properly --- my cleaning regime is tuned for acrylics --- and secondly had split at the tip. Nothing will work reliably when the nozzle is FUBAR, so I replaced it.
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