Tucking Mill

[Donw]

And I just gave away my barely-used spare to Jerry! Ahhh well, he's a damn good cause... 

 

It is quite possible these silly ebay prices are only being paid by those who think the price will go up and they will make money. I doubt many would pay that much.

 

Don

[Donw]

Regarding the Varipulse controller the info on the link page refers to the pulses as 60Hz which may not suit coreless motors. It may work perfectly with them but it is your risk. The circuit does not appear to be as sophisicated as the decoders. When you consider the cost of a decoder which also has to decode the signals it should be possible to produce something better at a reasonable price.

 

Don

[queensquare]

Quick update on progress on the Wharf. The two cottages have received a lot more work as has most of the ground work which is now blended and almost ready to start receiving ground cover.

The tub way track work has been completed and 'das-end' in. More work this evening - chores permitting!

 

 

 

Jerry

[John lewsey]

Looking good Jerry the finnish on the cottages looks superb

John

[Donw]

Just wondering how you will do the backscene Jerry. Is that cottage removeable to paint behind it?

 

Don

[queensquare]

Just wondering how you will do the backscene Jerry. Is that cottage removeable to paint behind it?

 

Don

I shall paint it in the same way as Tucking Mill. Both cottages and the back scene are removeable.

 

Jerry

[queensquare]

Following on from Don's question regarding the back scene I thought it might be useful to give a few more details.

The tall white back scene is actually the sky - yet to be painted. The landscape element is separate, as on Tucking Mill, and is made of 3mm MDF. The bend is done by slitting the back, brushing on some water and carefully clamping it round a former and sticking some paper on with copious amounts of PVA.

My method for making and painting back scenes is a direct crib of John Birkett-Smith's (Totnes, Ashburton) and whilst I am very pleased with the results I get they are not in the same league as John's which are nothing short of breathtaking.

 

 

 

 

With the oversize back scene in place I sketch in the landscape, trees etc. Like on TM there will be trees all along the back to represent the wooded Horsecombe Vale. The pictures blue tacked on the sky are of the prototype area and used for inspiration - again, the idea taken from JBS.

 

 

 

Once happy with the sketch the board can be lifted out. I cut it roughly to the line with a fine blade in the jigsaw, final trimming being with a Stanley knife. The final job prior to starting painting is to feather off the top, back edge.

 

If you want to see the layout as a 'work in progress', along with John Greenwood's St Blazey shed, come along to Railex in Aylesbury on the weekend of the 23/24 where we will be presenting the John and Jerry micro-layout demonstration. We will have examples of buildings, scenery, stock and locos under construction alongside two very different working layouts.

 

Jerry

Edited May 14, 2015 by queensquare

[The Stationmaster]

Note to self - remember to take magnifying glass to Railex.  

[Donw]

Thanks Jerry very instructive. I will probably take inspiration for that on my 7mm layout where due to the sloping ceiling it would be difficult to fix a one piece backscene. So I may paint the sky onto the wall and ceiling then add a scenic board keeping the top below the start of the slope.

Don

[JohnBS]

Following on from Don's question regarding the back scene I thought it might be useful to give a few more details.

The tall white back scene is actually the sky - yet to be painted. The landscape element is separate, as on Tucking Mill, and is made of 3mm MDF. The bend is done by slitting the back, brushing on some water and carefully clamping it round a former and sticking some paper on with copious amounts of PVA.

My method for making and painting back scenes is a direct crib of John Birkett-Smith's (Totnes, Ashburton) and whilst I am very pleased with the results I get they are not in the same league as John's which are nothing short of breathtaking.

image.jpg

image.jpg

image.jpg

With the oversize back scene in place I sketch in the landscape, trees etc. Like on TM there will be trees all along the back to represent the wooded Horsecombe Vale. The pictures blue tacked on the sky are of the prototype area and used for inspiration - again, the idea taken from JBS.

image.jpg

image.jpg

Once happy with the sketch the board can be lifted out. I cut it roughly to the line with a fine blade in the jigsaw, final trimming being with a Stanley knife. The final job prior to starting painting is to feather off the top, back edge.

If you want to see the layout as a 'work in progress', along with John Greenwood's St Blazey shed, come along to Railex in Aylesbury on the weekend of the 23/24 where we will be presenting the John and Jerry micro-layout demonstration. We will have examples of buildings, scenery, stock and locos under construction alongside two very different working layouts.

Jerry

Jerry,

It's looking very good and thanks for the compliment. I don't think that I can make Railex so hope that things go well for you and John. What a double act!

John

[queensquare]

Managed to build the lighting pelmet over the weekend. This is crucial before any final painting of the backscene or scenery can take place to ensure the colour balance is correct. As with both Highbury and Tucking Mill I have opted for an under cupboard strip light.

 

 

Jerry

[Phil Copleston]

Managed to build the lighting pelmet over the weekend. This is crucial before any final painting of the backscene or scenery can take place to ensure the colour balance is correct. As with both Highbury and Tucking Mill I have opted for an under cupboard strip light.

 

Jerry,

 

I really like this 'open on two sides' presentation you have adopted on The Wharf. More open and viewable than a straightforward proscenium arch, and less 'cramped'. It thus encourages viewing from several varied angles. Very thoughtful! 

[queensquare]

Jerry,

 

I really like this 'open on two sides' presentation you have adopted on The Wharf. More open and viewable than a straightforward proscenium arch, and less 'cramped'. It thus encourages viewing from several varied angles. Very thoughtful! 

Thanks Phil. I'd liked to say it's more evidence of my brilliance in design but sadly it's yet another happy accident! When the Wharf is attached to Tucking Mill the operator has to stand at the end so it seemed logical to curve the end round otherwise she/he would block the spectators view. That said, I'm rather pleased with how it's shaping up.

 

 

Jerry

[JohnBS]

Thanks Phil. I'd liked to say it's more evidence of my brilliance in design but sadly it's yet another happy accident! When the Wharf is attached to Tucking Mill the operator has to stand at the end so it seemed logical to curve the end round otherwise she/he would block the spectators view. That said, I'm rather pleased with how it's shaping up.

image.jpg

Jerry

Jerry,

It is looking delightful. It's a good change to be able to see along the length of a line - one of the design aspects that we took into account with Copenhagen Fields and the North London line.

Super work.

John

[2ManySpams]

Thanks Phil. I'd liked to say it's more evidence of my brilliance in design but sadly it's yet another happy accident! When the Wharf is attached to Tucking Mill the operator has to stand at the end so it seemed logical to curve the end round otherwise she/he would block the spectators view. That said, I'm rather pleased with how it's shaping up.

image.jpg

Jerry

Big woodworm Jerry ;-p

[Flying Fox 34F]

Managed to build the lighting pelmet over the weekend. This is crucial before any final painting of the backscene or scenery can take place to ensure the colour balance is correct. As with both Highbury and Tucking Mill I have opted for an under cupboard strip light.

image.jpg

Jerry

Jerry,

 

Looking good. Now a question.

What is the distance between the top edge of the scenery and the bottom edge of the pelmet, at the front of scene?

 

Paul 4475

[queensquare]

Jerry,

Looking good. Now a question.

What is the distance between the top edge of the scenery and the bottom edge of the pelmet, at the front of scene?

Paul 4475

It varies but in the region of twelve inches. Remember the scenic section is only 2' long!

 

Jerry

[Donw]

It varies but in the region of twelve inches. Remember the scenic section is only 2' long!

 

Jerry

 

I seem to remember you saying somewhere that you favour a reasonably high backscene.

 

Don

[queensquare]

I seem to remember you saying somewhere that you favour a reasonably high backscene.

 

Don

You are right Don I like the backscene to be as high as possible - one of the reasons I always operate from either the front or ends. As well as framing the model it forces the viewer in by blocking out all the surrounding distractions which at shows usually consists of the untidy rear of another layout or, even worse, the untidy midriff of the operators. It also makes controlling the lighting and viewing angles much easier. I dislike low sky boards, in particular those that have trees/buildings/chimneys higher than the top of the sky??? Next time you are outside look up and see if you can see the top of the sky.

 

Jerry

[CF MRC]

Jerry

Bit difficult to judge from the photo and with the hills and trees yet to be filled in, but is the sky pelmet a bit high / too short? Doesn't quite seem to meet the golden proportion when seen in conjunction with the visible depth of the baseboard. Might be different with Tucking Mill on the other end of course.

 

Just a thought.

Tim

[Re6/6]

You are right Don I like the backscene to be as high as possible - one of the reasons I always operate from either the front or ends. As well as framing the model it forces the viewer in by blocking out all the surrounding distractions which at shows usually consists of the untidy rear of another layout or, even worse, the untidy midriff of the operators. It also makes controlling the lighting and viewing angles much easier. I dislike low sky boards, in particular those that have trees/buildings/chimneys higher than the top of the sky??? Next time you are outside look up and see if you can see the top of the sky.

 

Jerry

 

I do agree Jerry. One thing that I fail to understand is why builders of sometimes superb layout have low backscenes where the punters can see the operators ugly/handsome faces (usually with serious looks) or worse, beer bellies!

 

It destroys the illusion on what otherwise could be a superb model. There is so much more to a good model than just track and trains. The best layouts have everything modelled to the best standard so that the thing looks like it is a railway set into the scenery and this most importantly includes the backscene. The likes of Chee Tor, Bucks Hill (and Pendon of course!) are what float my boat. I would say that I suppose!

 

Apologies to some of my best pals who perhaps don't agree about backscenes!

 

The plan for Balcombe is a high backscene above the viaduct parapet so nothing other than the distant downs will be seen by the viewer.

 

Sorry to hijack the thread Jerry with this rant!

[Donw]

Jerry

Bit difficult to judge from the photo and with the hills and trees yet to be filled in, but is the sky pelmet a bit high / too short? Doesn't quite seem to meet the golden proportion when seen in conjunction with the visible depth of the baseboard. Might be different with Tucking Mill on the other end of course.

 

Just a thought.

Tim

 

Tim while the golden proportion is an ideal there are views which are better represented in different proportions. I do sometimes turn my camera on its side to take a shot.

Don

[queensquare]

Jerry

Bit difficult to judge from the photo and with the hills and trees yet to be filled in, but is the sky pelmet a bit high / too short? Doesn't quite seem to meet the golden proportion when seen in conjunction with the visible depth of the baseboard. Might be different with Tucking Mill on the other end of course.

Just a thought.

Tim

Hi Tim, you are right in that it doesn't fit the golden proportion and ideally it would be six to nine inches longer although the fact that the trees/hills are currently in white undercoat accentuates that effect. If the Wharfs' main objective was as a stand alone layout I would have made it longer, probably by a foot or so but the fact it can be used on its own is a happy bonus. It's main purpose is as a bolt on to TM replacing the six inch stub that represented the private quarry siding. It needed to be no more than about two feet long as it stacks back to back with the train table when travelling but the sky, and more importantly the horizon line, had to match TM. In the context of an extension to TM I think it will work well

 

Jerry

Edited May 20, 2015 by queensquare

[queensquare]

I do agree Jerry. One thing that I fail to understand is why builders of sometimes superb layout have low backscenes where the punters can see the operators ugly/handsome faces (usually with serious looks) or worse, beer bellies!

 

It destroys the illusion on what otherwise could be a superb model. There is so much more to a good model than just track and trains. The best layouts have everything modelled to the best standard so that the thing looks like it is a railway set into the scenery and this most importantly includes the backscene. The likes of Chee Tor, Bucks Hill (and Pendon of course!) are what float my boat. I would say that I suppose!

 

Apologies to some of my best pals who perhaps don't agree about backscenes!

 

The plan for Balcombe is a high backscene above the viaduct parapet so nothing other than the distant downs will be seen by the viewer.

 

Sorry to hijack the thread Jerry with this rant!

I fully agree John and this is even more important in the 2mm scales where individual models have far less impact than the overall scene due to their small physical size. Failure to block out the surroundings and focus the viewers attention on the model can, and often does, result in some wonderful modelling being lost in all the surrounding visual noise and clutter.

 

Jerry

[John lewsey]

Visual noise I like that