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Lets see your teak coaches.


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Progress so far with improving a Hornby Margate Teak (Mike Trice technique; for use with my older tender drive locos which still get a lot of use) and a Chivers Pigeon Brake.

Both require transfers from HMRS in the coming weeks.

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Can I throw in a few Irish coaches to this thread, partly as a 'thank you' to Mike Trice for his technique and also perhaps as an encouragement to others to have a go? It's actually easier than painting a normal livery!

 

The Great Northern Railway (Ireland) painted their coaches in a varnished wood livery. The company, which had been taken over by the Governments of the Republic of Ireland and Northern Ireland in the early 1950s ceased to exist in 1958 and was divided between the two jurisdictions. However, the livery lived on in Northern Ireland until the early 1960s; there are many colour photos of such coaches in Ulster Transport Authority service.

 

These coaches are a mix of scratchbuilt and Worsley Works parts.

 

Cheers and thanks again to Mike Trice,

 

Glover

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This is my Diagram 118 Brake Composite. Built for the Scottish Southern Area, but requisitioned for the Rosehearty branch. It was built as an adaptation when the Ian Kirk kit that I planned to build had the wrong set of parts. 
 

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John

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Ian Kirk D212 sides onto a Hornby donor chassis, ends and roof.  Teak finish is the method used by Ian Rathbone. I used PP Golden Teak mixed with Humbrol 62 as the brown. The colour is a bit on the orange side, next time I will use try PP LNER Teak.  I have two more lined up, a Bill Bedford D114 and a Bill Bedford D144 (which I will make as a D10C).

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Nice job.  I like the light and airy interior you've managed to achieve.  

 

Couple of things, though - I believe the guards handrails should be teak, not black (I know some preserved examples have them black) and you haven't added the rain deflectors above the doors.  They should be teak brown like the cantrail and make a significant different to the appearance of the carriage from this sort of angle.

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My next one is a D114, brass sides and Hornby ends & roof.  Using Ian Rathbone's technique again, but after much experimentation this time I mixed Humbrol 133 and 62 in roughly equal amounts and then added Precision GWR Chocolate until I got the desired degree of brown. Base coat is Precision M&GN Gorse Yellow which is orangey, and gloss. First attempt was too grainy, so started again. Second attempt I think is better. Lining could be better, still getting to grips with the pen.   

 

 

 

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Edited by scratcher
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13 hours ago, scratcher said:

There seems to be some debate about the guards handrails colour

 

Backing up what SB says, I'm friends with the LNERCA archivist and they recently took some preserved door metalwork out of store and found it was a darker brown than they had been using up to now.  I can go with that, but I don't believe I've ever seen contemporary evidence of black.

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On 08/11/2020 at 13:44, jwealleans said:

Nice job.  I like the light and airy interior you've managed to achieve.  

 

Couple of things, though - I believe the guards handrails should be teak, not black (I know some preserved examples have them black) and you haven't added the rain deflectors above the doors.  They should be teak brown like the cantrail and make a significant different to the appearance of the carriage from this sort of angle.

 

I went for teak on mine JW

 

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On 14/11/2020 at 18:19, scratcher said:

Thanks Jonathan. There seems to be some debate about the guards handrails colour - see https://www.steve-banks.org/prototype-and-traffic/133-teak-coaches. I'd love to know the definitive answer.  Agree about the rain deflectors; a casualty of using the Hornby roof & ends as a donor. 

At the SVR and through the LNERCA. The conclusion we came to about guards grab handles was they were the saddle colour used on the solebar and canvas strip. Apart from the main passenger door and lock handles which are polished brass. All of the metal work is painted in this saddle colour. 

 

Dont forget the paint would wear off fairly quickly as well and they would end up fairly dark with wear.

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Some recently finished stock. I have seriously been able to up my game thanks to Mike Trice.

 

52'6" third. This was stripped down and refinished. To give it that in-service look I missed the last clear coat and opted for a mucky wash of acrylic which was allowed to dry and then wiped off with towels, cotton swabs and tiny detail brushes.

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51' diagram 62 brake third is kit bashed Kirk finished the same way as above.

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32' general van. Is the Chivers kit, detailed with handrails etc. and finished in Phoenix light teak to represent late wartime brown paint.

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My old Parkside CCT van has been given the grime treatment.

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The BCK is scratch built also in the ubiquitous wartime brown.

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 Shaun.

 

Edited by Sasquatch
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  • 7 months later...

I  thought I would add to this thread with what I believe is the simplest way of reproducing teak.  I know some of the following coaches have some of the errors listed earlier – they were made many years ago and will be updated in due course where possible.  They are all Kirk kits in origin with MJT add-on parts.  They are shown for the teak finish.

 

The undercoat is simply the light brown plastic of the Kirk kits with the exception of the DIA 45 steel panelled brake which has scratch-built sides and was sprayed a mid-sand colour from the Halfords car range.  Different panels can of course be coloured differently. The technique then is to use artists oil paints, mostly burnt Sienna but variously mixed with Vandyke brown, burnt umber and raw Sienna.  These are brushed on with a flat brush to cover the surface and then in the appropriate grain direction from left to right (if you are right-handed!).  A different colour can be applied parallel to the grain within a single panel.  At this point the lines of grain may be quite crude and the paint thickness will vary quite a bit too.  The next part of the process is to smooth this out and make the finish more subtle.  Take a clean toothbrush and move its edge along the paint in the direction of the grain from the right-hand side towards the left to take away any build-up against the vertical mouldings.  Now do your final move from left to right to finish the effect.   If you don’t like what you see you can use the toothbrush again or go back to the flat brush stage.  That is the beauty of slow drying oil paints.  Adding Liquin will speed the drying process but still give you plenty of working time. 

 

This approach should give a smooth but grainy effect.  It will also inevitably build up next to the mouldings giving an impression of dirt lying there.  As an additional piece of sophistication is to represent the nailed panel repairs that came after the second world war (although I now discover it is wrong for my period of interest – the LNER glued the panels in place) by pausing the toothbrush movement in the appropriate spot on the lower horizontal panels and backtracking just slightly.  You can just see this best on Diagram 139.

 

Add transfers when dry and overcoat with Ronseal Satin thinned with Humbrol enamel thinners or any varnish of your choice.

 

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Edited by 4608
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