Wright writes.....

[cctransuk]

I'm off to bed. I can't be @rsed to see in the New Year!

 

Me too !!!!!!!!!!!

 

Ohhhh - the joys of being an old fart !!

 

Happy New Year !!

 

Regards,

John Isherwood.

[Andrew P]

Some of my Backscene on Kings Moreton. I don't do Buildings on my Backscenes. Sorry about the Quality Tony.

 

 

 

 

 

 

 

[Clive Mortimore]

Some of my Backscene on Kings Moreton. I don't do Buildings on my Backscenes. Sorry about the Quality Tony.

Summery of where we are so far 004.JPG

 

Running Testing 006.JPG

 

Running Testing 004.JPG

 

More Sheep etc 001.JPG

Hi Andy

 

I am not saying this cos you is a mate but you have an artistic eye, so does Tony, and you both make backscenes work but the likes of this talentless bloke a plain blue if summer or grey if a normal summer is the best I should be trying.

 

Happy new year to Tony and Mo and all you other herberts who read and post on here. :sungum:

[Lecorbusier]

My personal 'pet hate' to add to the list Tony is the apparently growing trend to display a layout without a backscene, I have always contended that the eye needs

to 'rest' against something behind the main source of interest and also provide a sense of perspective. A happy and prosperous 2018 to yourself, Mo and all of 

the readers of 'Wright Writes'

This will sound strange ... but I don't really have pet hates. I either like a layout or I don't. All but a few have aspects that I might wish were better or different, but if on balance I like a layout I enjoy spending time 'enjoying it'. If I don't I move on.

[APOLLO]

Tony - Year 1957  Location Little Bytham

 

Brit 15 - Year 1900 Location Springs Branch Wigan.

 

What's your settings ?

 

 

Brit15

[St Enodoc]

John,

 

As Poggy has also suggested, there are instances of leads into goods yards which contradict my observations.

 

However, what was the speed limit through Par? 50, 60, 70, 80 or more mph? I have never visited the prototype, so I don't know. 

 

My 'pet hates' with regard to incorrect track layouts are (probably) more general. However, to be specific, when WMRC built Moretonhampstead in OO (to 'scale' - yes, over 30' long!), a prototype track plan was used. In order to gain access into the goods yard from the single running line into the station, trains had to go into a parallel siding, then negotiate a diamond crossing to access the yard. I assume this assured safe practice both in entering the goods yard and exiting it. I imagine the maximum speed anywhere at this remote Devon terminus was walking pace, so safety was first, even there. 

 

At every ECML location I can think of, apart from facing points to gain access from fast to slow or vice versa, any lay-byes or goods sidings (other than through loops) could only be accessed by reversing. In fact, there were numerous lay-byes out on the road where reversing gave the only access. Yet, I've just been looking at a layout or two (obviously not prototype-based) where no observation of prototype practice has taken place. These include facing crossovers on a Settle & Carlisle layout. A signal box placed at 45 degrees to the running lines because 'it looked more interesting'. Sidings giving direct trailing access to main running lines without the protection of a trap point or sand drag. Granted, things like the latter seem to have disappeared today (though once the one at Winsford had been taken out, almost immediately a collision occurred when a Pacer over ran). 

 

I think this aspect is one of my pet hates which I'll continue with. And, as I always say, if you (the generic 'you') wish to model 'accurately', then look at the (a) prototype and copy it. 

Tony, the speed limit varied by era but at the time of my model (1950s) it was 45 mph along the Down Main and 10 mph across the junction at the Up end.

[St Enodoc]

Hi Chris

 

I am in the opposite opinion regarding backscenes. Too many distract from the model, they can be overpowering, they can cause a visual upset where they do not blend in, they look like an afterthought, the layout lighting gives the 3d objects one shadow (or more) and backscene's shadows go the opposite way. Perspective only works if viewing from the right place. Who is the lucky punter at a show to see this, not me. Unless the backscene is thought of as the layout is designed then it normally visually fails. If the operators feel they need to hide their fat bellies, drinks, sandwiches and other junk then a plain light blue or grey board works better than flat houses. 

I agree Clive. A plain backboard is much better than nothing.

[The Johnster]

I agree that backscenes, if they are going to be in the least effective, need to be considered at a very early stage and integrated fully into the foreground, and this is not a particularly easy thing to achieve in terms of lighting or perspective.  When it is done well, it is superbly additional to the appearance of the model; I would point anyone looking for how this should be done in the direction of RM's own Black Country Blues or the superb Vopak; you could be on Barry Docks!

 

I have cheated a little on Cwmdimbath, substituting a backscene with the bottom part of the mountain that rises precipitously from the far side of the platform with a scenic mat at a steep angle; above this will eventually be a grey vertical backdrop to evoke a grey South Wales day in the 1950s.  

 

The end of the scenic part of the layout is defined by a matt black card screen, with a road bridge just in front of it and with a bracket signal between it and the bridge; I was originally intending to put a photo backscene on this, but am surprised with how effective the black is, and have decided to leave it as it is!

Edited January 1, 2018 by The Johnster

[LNER4479]

A few days ago I believe an invitation was issued to us all to show what we've made this year.

Ooh - are we doing a review of the year? Must have missed that first time round.

 

Here is a view of a certain layout under construction almost exactly one year ago today (actually 30th Dec 2016).

 

And here it is from a similar viewpoint at Warley less than 11 months later.

 

My grateful thanks to my fellow co-conspirators who contributed their time and skill so enthusiastically to help achieve the Warley deadline.

 

Including 'Sir' himself who readily agreed to take on the challenge of recreating 4498 in 1967 guise as well as making other locos available to fit on with the 1967 theme.

 

Not to mention a lovely set of pictures taken at the show on the Sunday morning. Both these pics have been shown on here before but the rest of the 'shoot' is being held back to illustrate a layout article scheduled for the May edition of Railway Modeller.

 

Happy New Year. I did stay up to see the thing in but it's probably time for 'lights out' now

Edited January 1, 2018 by LNER4479

[Grafarman]

Ooh - are we doing a review of the year? Must have missed that first time round.

 

IMG_8592.JPG

Here is a view of a certain layout under construction almost exactly one year ago today (actually 30th Dec 2016).

 

WP_20171126_16_59_55_Pro.jpg

And here it is from a similar viewpoint at Warley less than 11 months later.

 

My grateful thanks to my fellow co-conspirators who contributed their time and skill so enthusiastically to help achieve the Warley deadline.

 

Shap 10.jpg

Including 'Sir' himself who readily agreed to take on the challenge of recreating 4498 in 1967 guise as well as making other locos available to fit on with the 1967 theme.

 

Shap 13.jpg

Not to mention a lovely set of pictures taken at the show on the Sunday morning. Both these pics have been shown on here before but the rest of the 'shoot' is being held back to illustrate a layout article scheduled for the May edition of Railway Modeller.

 

Happy New Year. I did stay up to see the thing in but it's probably time for 'lights out' now

 

That last picture of D210 on the bank is nothing short of stunning; real sense of space and location, wonderful!

 

David

[petrovich]

That last picture of D210 on the bank is nothing short of stunning; real sense of space and location, wonderful!

 

David

Have to agree one of the best of 2017 or any year.

 

Regards

 

Peter

Edited January 1, 2018 by petrovich

[Poggy1165]

My wife has a "thing" about backscenes at exhibitions. She loves them when they are well done and absolutely hates them when they are badly done. I agree that a plain background is better than one badly done; but an artist can achieve a brilliant effect. For myself, I tend to focus on the trains, and to a lesser extent the structures and signalling, and the backscene comes low on my list of priorities.

 

I always think it's interesting to get the non-enthusiast POV. I have a similar issue with dirty engines on preserved lines. A percentage of enthusiasts love them as they "recreate" 1968, but most of the income comes from non-enthusiasts who just see a dirty engine and think the organisation is slovenly. Dirty carriage interiors are even more of an issue.

[gr.king]

I would strongly imagine that a recreation of a Golden Era would have greater mass appeal than the recreation, no matter how authentic, of a time of grime and neglect.

[Leander]

That last picture of D210 on the bank is nothing short of stunning; real sense of space and location, wonderful!

 

David

Without wishing to pour cold water on any aspect of this superb layout, which perfectly captures the essence of the place and time, D210 really does require a frost shield grill.

[Headstock]

I would strongly imagine that a recreation of a Golden Era would have greater mass appeal than the recreation, no matter how authentic, of a time of grime and neglect.

 

Did the golden era come after or before the rose tinted era? My Fathers reminiscences of pre war train travel was that it was a dirty, slow and an uncomfortable experience for the average passenger. As he would say, "you would have a better time if you were a fish".

[grob1234]

A few days ago I believe an invitation was issued to us all to show what we've made this year. A combination of factors, including increased annoying consumption of my time by the "real job", plus the legacy of past efforts to prepare locos quickly to "basic standard" in order to populate the Grantham layout appropriately at shows, has put me in the position this year of finishing the year with largely the same items I had at the start, but now finished to a higher standard. A good amount of preparation of new moulds for resin casting and artwork for etched valve gear parts has also taken place as part of a successful effort to simultaneously help other modellers wishing to convert Hornby P2 locos and to generate a small amount of funding for the full size Darlington P2 project.

 

My own two converted P2 models thus at last have a final livery job, twiddly details added and so on, now being free from any need to be taken apart again in order to yield master parts for mould making. Here they sit on the festive table-cloth!

V- two cocks.JPG

 

I've also tinkered with the "standard" Hornby P2 model, adding lamps and robust metal cylinder drains, substituting Gibson wheels in the pony truck and temporarily painting the rims of the coupled wheels "steel" to emulate the ex-works appearance of the new loco. When I have the time and motivation I'll probably go for Gibson coupled wheels too, for the sake of the real burnished steel rims. This model, unlike the other two P2s, had the unfortunately not-uncommon notchy motor, which I replaced with one of the larger 5-pole Cans found in the best Hornby Pacifics. For better or worse I also replaced some of the spindly, angular plastic pipework associated with the ACFI pumps and heater.

STA70872 whole.jpg

 

A couple of other locos that have so far run only in fairly plain finish on Grantham are these, a DJH Atlantic equipped by yours truly, idiosyncratically, with six wheel drive, and green liveried A4 Woodcock, an assembly of various Hornby LNER Pacific remnants, spares and a resin copy of a tender top.

STA70115.JPG

 

In the last couple of weeks I've got most of the way to finishing the livery and detailing on the A4 properly, as this image shows, and I hope the Atlantic will follow shortly.

STA70892.JPG

 

The restricted new output from the home works during the year has been supplemented by three new acquisitions from other sources. In the Summer, the opportunity to get a tidily built Millholme B5 came up. The loco was seen on here at the time. It has since had a works visit to bring it closer to the standard that I ultimately intend:

STA70797.JPG

 

In October I was pleasantly surprised to see this model on sale at a local exhibition. I did not hesitate to grab it, and it's a lovely smooth runner, but it will be a while before it receives the essential Doncaster green livery job.

STA70802 crop.jpg

 

Just after that, a price reduction on a certain retailer's stocks of Hornby Q6 models proved tempting. After a fair bit of study of the notes on this class I've done a stop-gap renumbering job and added a windjabber to the chimney to turn the post-war LNER version offered by Hornby into a late pre-war example. I had a tricky time trying to get the flimsy running plate to lie flat too, not helped by the presence of the bracket for the lubricator drive. I've since realised that said bracket is superfluous on the pre-war loco so I've removed it!

STA70877.JPG

 

I've also obtained a couple of the new Peco bullhead code 75 points to investigate what can be done with them, simultaneously digging out some long-stalled plans for a new section of railway which could ultimately form most of the scenic portion of an exhibitable layout. If circumstances next year allow me more time, I may actually get somewhere with that scheme. Who knows?

 

Happy New Year to all.

 

 

Graeme, what a superb body of work (not you, the trains!). I love the P2's, they look great.

[Tony Wright]

Many thanks for all the comments on the backscenes. My view is that when viewing the very best, one is aware of them, but they are, like a background behind a stage production only there to 'set the scene'. When the eye is drawn far too much to them, often because of lurid colours (viridian tint!), then any effect of realism is rather lost. 

 

I've included a few shots of layouts featuring a backscene. In every case I've done no more than show the height exactly as it is, place a real sky behind them or clone the sky colour which was painted on to them. I have not altered the perspective, both natural and aerial. Some are painted, some are produced photographically and some are little more than plain colour. Some have (extremely) low-relief structures glued straight on to them. 

 

In my opinion, some work beautifully, some less so. Naturally, I'm not expressing an individual opinion on each one, though I'll make the odd comment for clarification. I think with the best, the eye is not sure exactly where the 3D work ends and the backscene begins. 

 

 

Annan Road in OO

 

 

Hinton Parva in OO

 

 

Hospital Gates in O

 

 

Kendale in O

 

 

Kingstorre in EM

 

 

Langwith Road in OO

 

 

Loch Tat in N

 

 

Melton North in N 

 

 

Pendon in EM

 

 

 

 

 

 

 

 

 

[Tony Wright]

A further selection................

 

 

Rhydyclafdy in OO

 

 

Rowntree Halt in OO

 

 

Totnes in N

 

 

Vauxhall Road in OO.

 

Any comments, please. 

 

 

 

[Lecorbusier]

Did the golden era come after or before the rose tinted era? My Fathers reminiscences of pre war train travel was that it was a dirty, slow and an uncomfortable experience for the average passenger. As he would say, "you would have a better time if you were a fish".

....... rose tinted spectacles are de-rigour aren't they? ... whatever era you model. I find it fascinating listening to Pete Waterman waxing lyrical about dirt, grime etc etc. much as I do about the pr-grouping Midland in its heyday 

[chris p bacon]

Hospital gates is the one for me.

 

Vauxhall road looks good but that corner building should be filthy with muck from the road and railway.

[Clearwater]

Hungerford, Clutton and Grantham both have good backscenes in my view.

 

David

[gr.king]

Did the golden era come after or before the rose tinted era? My Fathers reminiscences of pre war train travel was that it was a dirty, slow and an uncomfortable experience for the average passenger. As he would say, "you would have a better time if you were a fish".

It may not be necessary for the Golden Era to have existed. I think the mass audience would still be likely to be drawn most effectively by an idyllic portrayal, even if that is a false image.

[Tony Wright]

Having produced a selection of layouts for 'critical' comment where a backscene is fitted, I should (must?) show what I've done on my own Little Bytham. 

 

 

A general view, with no work done to remove the rest of the room. In my opinion, the eye is drawn to the peripheral clutter rather than the model.

 

 

So, I've taken it out in this view. This is no more than isolating the 'horizon' and cloning the light sky blue I've used. 

 

The backscene is not actually fixed to the layout boards, but to the walls, with a gap between for access/operating. I've painted it using artists' acrylics applied with a range of sables. Comment has been made that the backscene is too bright. However, at rail level the real horizon is only a quarter of a mile away, Little Bytham Station being in a very shallow valley of the River Glen. I walked along the west side of the railway, took pictures, made colour sketches and wrote notes one hot summer's day two years ago. Apart from the addition of a few more farm buildings, the scene is virtually as it was 60 years ago. One thing I omitted was the run of pylons.

 

 

Slightly out of focus (aerial perspective?), I think it works quite well.

 

 

 

 

What I feel works or not is irrelevant to some extent; that's for others to decide. I mention this because, although LB is not an exhibition layout, it appears from time to time in print (the RM this year), obviously regularly here and is seen by many, many visitors. I invite critical comment at every stage. 

 

What some of these views also show is the extent of the latest architectural/scenic modelling (much of the former, the work of others). 

 

 

With my New Year resolution to be more self-reliant, I've started making the trio of cottages at the south end of Station Road. I'm making these from Wills plastic bits and pieces, and I have to say I'm not entirely enjoying it. Not because I'm dissatisfied with the Wills bits but because of the material itself. I normally work in metal for locos/stock and card for buildings/structures. I end up looking like a snowman with plastic. The shavings/filings just get everywhere, clinging (because of static electricity?) to everything - me, my clothes, my tools, my workbench, anything lying around...

 

Still, I'll finish them, though perhaps card would have been a better medium. 

 

Because of the site restrictions, they'll all be in half-relief. Whether this will work in perspective, I'm not sure. I'll see when they're completed. 

 

The little van was built for me as a Christmas present from my elder son, Tom. Aren't I lucky? 

Edited January 1, 2018 by Tony Wright

[gr.king]

Hungerford, Clutton and Grantham both have good backscenes in my view.

 

David

I won't name it, but I was looking at what I thought was a fairly poor layout at the NEC yet I was greatly impressed by the quality of the seemingly expertly painted backscene!

[Tony Wright]

Hungerford, Clutton and Grantham both have good backscenes in my view.

 

David

Thanks for the last-mentioned, David.

 

However, I've still got to finish it. 

 

Regards,

 

Tony.