MikeOxon

I have found that the free Teigha File Converter from the Open Design Alliance: http://www.opendesign.com/guestfiles/TeighaFileConverter will convert DWG files into a DXF format that can be read by the Silhouette cutter. The software converts both DWG and DXF files into a wide range of alternative formats. I am currently working on a GWR 6-wheel coach design, which is described in my blog at http://www.rmweb.co.uk/community/index.php?/blog/1405/entry-13086-silhouette-coach-wip-1/ Mike

Thank you, once again, Mikkel. I shall try to find settings that will make a better job of tracing a drawing but was impatient to get on! I also thought it was better to invest some time in learning to use my AutoSketch software. I know some people are using Inkscape software and this also has a 'trace' function, so I may have a look at this as well. The trouble is that learning to use all these different software packages is very time consuming Mike

A large part of the appeal of 19th century railways, for me, is the appearance of the panelled coaches. Perhaps there is something lodged deep in 'folk-memory' from the days of finding warmth and comfort around the fire in simple timber-framed buildings. Whatever the reasons, wood frames and panelled in-fill stir emotions that plain steel sheets fail to do. The GWR even used papier-maché for panels, which doesn't seem that far removed from wattle and daub. Carriage Shop at Swindon Steam Museum I started with the Ratio GWR 4-wheelers, before developing the urge to have something 'different'. The first step was to build some alternative versions, by using the etched sides from Shire Scenes. Somehow, though, while locomotives are definitely best if made from metal, model coaches take more naturally to softer materials. My discovery of the Silhouette computer-controlled cutter, through JCL's thread on this website, made me feel that it might be possible to realise my aim at reasonable cost. There's lots of helpful advice in the thread at http://www.rmweb.co.uk/community/index.php?/topic/79025-a-guide-to-using-the-silhouette-cameo-cutter/ , where the principle of building up a coach side from a series of laminations is described. The outer layer is the most complex as this carries all the frame details, which are overlaid onto the base layers. Once I had decided to start this project, the first step was to select a suitable prototype. There is plenty of information on 20th century designs but details become much sketchier as we move back into the 19th century. Books, such as Russell’s 'Great Western Coaches' Part 1, contain a selection of photos but there are many gaps. A particularly useful source is the website at http://www.penrhos.me.uk/index.shtml , which has extensive information about GWR Short (i.e. 4- and 6-wheel) Coaches. As a result of searching these sources, I made a shortlist of potential subjects - all 6-wheel composite coaches - and chose diagram U29 as a particularly attractive subject. This diagram is quite similar to U27 and U28, which have been the subjects for K's and IKB kits, but has the interesting feature of the transitional GWR 'up and down' window line, where the windows alongside the doors were taller than those in the doors themselves. I made a coloured illustration of this coach in my previous post in this blog. Having chosen a subject, the next step was to prepare the artwork for the cutter. Since I had a basic drawing of the side elevation, my first thought was to use the 'trace' function in the Silhouette Studio software, to make a vector drawing. I soon found that it would need a much 'crisper' image than I had, to achieve a reasonable trace, and, even then, it would be difficult to replicate the curvature at the panel corners, without introducing unwanted curvature into the straight sections, because of the way in which the trace function operates. For many simpler scenery objects, however, I think this method has a lot of potential. So, I decided that, for my coach sides, I would have to produce my own artwork, from scratch. It was clear that this would involve a substantial investment of time and effort and I felt reluctant to commit this to the Silhouette Studio software, because it uses a proprietary format, which could not be used for any other purpose in the future. As it happens, I have an old copy of 'AutoSketch' (ver.5.03), which uses 'industry-standard' drawing formats but, until now, I had only used it for rather simple rectangular components. The need to create more complex shapes, and to arrange them in the correct positions on the coach sides, was clearly going to need a much better understanding of how this CAD software operates. The complexity arises largely from the provision, within the software, to specify every detail of the forms ('entities') that it can create. For example, in the case of the curved corners of the panels, the radii of the corners can all be specified separately and there are also various tools for aligning the different entities. I soon found that the 'help' screens were very good at explaining what the various drawing tools can do but were rather poor at explaining how the various operations could be achieved. As a result, I went through a rather lengthy process of 'trial and error' - initially, mainly 'error'. Fortunately, I found a basic manual on the web at http://boeingconsult.com/tafe/dwg/Skf-Manual.pdf This explained the process of 'trimming' entities (using the Edit | Trim menu), which turned out to be the key to constructing complex shapes. It still took me some time to discover how to adjust the trim tools to my specific requirements, which is done through the Edit Toolbar. Another useful feature of the software is that it can import bitmap images and place these on a background layer, which can then be used as a template for accurate drawing and placement of the entities. Again, it took me some time to understand how to control the behaviour of the layers, since all are normally visible but only one is active at a time. The trick is to copy the background image to an 'editable' layer and then convert this to a 'background' layer, which is then 'immune' to the selection and editing tools. For the record, I shall now explain the method that I eventually devised, though this is still work in progress, so I may revise my ideas as I gain more experience. I am setting this out for my own use and in the hope that it may prove useful to some of my readers. It turned out that Diagram U29 is somewhat 'the design from hell' , since every panel seems to be unique! It certainly gave me plenty of practice in using the drawing tools. I like to set up the drawing area in AutoSketch so that it resembles a sheet of graph paper, with major intervals at 10mm spacing over a 1mm grid. I set the 'snap' distance at 0.25mm, which represents 3/4inch in 4mm:1ft scale. The 'Drawing Properties' screen looks like this: The first stage in drawing my coach was to import an image, to use as a template. I found a drawing of U29 on the web at http://www.penrhos.me.uk/IDGuide.shtml (which Richard Spratt has given permission for me to reproduce here) and pasted this into Photoshop as a TIFF image (not JPEG, since this blurs the line outlines). I then opened the image in AutoSketch, made a new layer, and pasted the image into this layer. I then converted the layer to a 'Background'. This is done by using the 'Graphic Properties' screen, shown below: I then drew 'over' the background image, using the 'Rectangle' tool to create the panel outlines. The rounded corners are produced by using the 'Trim' tools in the 'Edit' menu. This is a rather complex procedure in AutoSketch. It's necessary to select the 'Round' option for the trim tool, then edit the tool properties for the desired radius. I used 1mm radius on the larger panels and 0.5mm on the smaller. Each rectangle has to be 'Exploded' ('Edit' menu) and then, with the 'Round' option, first click on one side of the corner and then on the other, which produces the rounded effect. It's a bit tedious, when there are lots of panels to do, but goes fairly quickly once into the swing of things! For windows and other constant-sized objects, the shaping only needs to be done once and then the object can be copied to all the locations where it is required. When all the panels had been drawn, I selected the whole drawing and moved it above the background image on the drawing area, as shown below. In order to transfer the drawing to the Silhouette Studio software, it must be saved in AutoCAD R12/LT2 DXF format. I chose the wrong format the first time, and was dismayed to see a highly distorted image! I found that it was necessary to re-scale the image again, to the correct dimensions, in 'Studio' and then I made my first cut! For this first trial, I used plain white card and accepted the settings recommended in the software, except for setting Speed to '1' (slowest). I also checked the 'Double Cut' box. All the settings are shown on the screen-shot, below. I thought that the cutting proceeded quite quickly and the 'chads' lifted off the mat easily, using the point of a No.11 scalpel. The end result is shown below. I had used rather cheap card, which tended to delaminate, hence some ragged edges, but the cutter seemed to have followed the outline very well around the 1mm radius curves, though a little less consistently round the 0.5mm. The photograph, as always, exaggerates the defects but I am pleased with this 'first try'. Next step is to do the other laminations needed to create a complete coach side Mike Next post

Thank you Mikkel. I'm still researching old coach diagrams and learning how to work with the cutter. I shall probably make my original drawings in Autosketch and then transfer these to the Silhouette Studio software, so that I will have my drawings in an 'industry -standard' format. Mike

I know some purists regard it as 'cheating' but, for non-structural bits round the back, there's always super-glue. Provided you clean the mating faces as thoroughly as you would for solder, it will provide a very strong bond. Make sure you've completed all the soldering in the area, though, as the fumes from hot super glue are very unpleasant. In 4mm scale, I use superglue for lots of 'fiddly bits' - brake gear and the like. An alternative, when you've got to the the stage you're at, is to hold the steps on either side firmly together in a pair of fine-nosed pliers and then apply a small 'cook's' blowtorch to the joint, to melt the solder enough to allow the back projection to 'bed down'. If you're quick, there shouldn't be enough heat flow to the other joints to melt these too! Mike

Doesn't brass look beautiful - seems such a pity to paint these models! Of course, in 0-gauge you have so much more metal to heat when soldering - twice the linear dimensions means 8 times the volume. Even in 00, I sometimes resort to using a small 'cook's' blowtorch, to add a little extra heat for soldering seams. Not sure why you had a problem loading pics - I put them straight into my blog. The uploader does, however, seem to cause problem occasionally.

My iron is from Maplin : http://www.maplin.co.uk/p/60w-lcd-display-solder-station-n89cz You could also try their tip cleaner : http://www.maplin.co.uk/p/tip-tinnercleaner-jg06g I certainly wouldn't advise dipping in phosphoric acid though, if you call it Coca Cola, it doesn't sound as bad

Fortunately, my wife's hobby is gardening, so I think I'm safe

Sorry to read of your difficulty jpendle. The image i scanned was already a line drawing, with minimal detail, so this probably helped a lot in my case. You could try erasing some of the internal detail before using trace and, if you have an image editor, try enhancing the contrast and sharpening the lines before tracing. I used a pen to learn the basics and have not stared cutting yet. Mike

Thank you for the info. What surprised me was that the oil lamp pots are to the sides of the clerestory. I expected them to make use of the extra headroom in the centre, especially after the coach had been 'narrowed' Mike

"should this be a blog or just a series of questions on the forum?" I had the same question when I started and I think the answer is - do both! Your question about soldering will probably get more responses, if you post it in the 'Skills and Knowledge Centre' part of the forums under 'Kits and Scratchbuilding' On the other hand, it will be interesting to watch your model develop through a series of Blog entries. I always enjoy seeing how other people find solutions to the various problems that arise. Re. your tip problem - it's not a good idea to file tips, as they are usually iron coated. The main thing is to keep a fresh coating of solder on the tip (tinned) at all times. Reducing the temperature, when not actually in use, does help reduce oxidation. I use a temperature controlled iron (60W) and find it good for modelling. You need the power to transfer heat to the component quickly without 'cooking' everything. I set to about 350C for working and drop to 200C (just enough to keep the tinning melted) between use. This keeps the tip in good condition for a long time. Mike

What a frustrating day! It seems odd that Scale Link have designed the fret with different designs as, surely, most modellers would want a run of the same style of fence? I notice that the '00' scale fret is labelled '4 types', so the same problem arises there. I hope 2014 brings better fortune to you

Perhaps Brossard's method might be better for the springs - see http://www.rmweb.co.uk/community/index.php?/topic/79126-lms-6-wheel-insulated-milk-van/?p=1247640

I have loads of plans! - The problem is trying to decide where to begin. I've been doing a lot of reading and learned a fantastic amount from this thread

I don't think I'm normally given to bursts of over-enthusiasm but I've just given my new 'Portrait' cutter an initial test - just drawing with a biro. I loaded a scanned image (jpeg) of a drawing from a book, then used the 'Trace' command in the 'Studio' software to create a vector drawing, automatically, which I simply drew! I could not have believed it could be so easy. Of course, this particular drawing was not designed for cutting but the potential seems enormous Mike

At present, I always print a border around the lining, in a colour as close as I can make it to the body colour. I think I will continue to do this when using a cutter, since any trace of white edge would be very visible. No problem with white-edged lining (e.g. Southern) of course! There can be a problem of water seepage at the edges of the transfer, which is another reason not to cut too close to the edge.

I remember that 6' x 3' layouts used to be referred to, somewhat derisively, as 'single bed size'. Remember that a mattress is a bit more flexible than a baseboard when it comes to loading into a car!

It's on my 'to do' list. It ought to be very useful for complex shapes, like cab sides, which are very awkward to cut out by hand.

It seemed OK to me but it was a 'shared' media, also used in a forum. I've uploaded another version, just for this entry, so hope it works now

JCL, on 29 Dec 2013 - 20:44, said:"Interesting we have all been thinking about 6 wheel coaches. I wonder what that means?" In my case, it's the wish for something different ..... though this thread may change that 6-wheels have been a no-no for RTR because of the problem of getting them round curves. They're also a pre-grouping topic, which has usually been the preserve of scratch-builders. Now the 'Silhouette' and similar machines look as though they will open up the field for 19th century panelled coaches. I'm about to have a go - see my blog at http://www.rmweb.co.uk/community/index.php?/blog/1405-mikeoxons-pre-grouping-blog/ Mike

I came across JCL's splendid thread about Silhouette cutters (http://www.rmweb.co.uk/community/index.php?/topic/79025-a-guide-to-using-the-silhouette-cameo-cutter/) at an appropriate interval for dropping heavy hints before Christmas, so now have a 'Silhouette Portrait' machine and loads of ideas for coaches and buildings Having discovered all about Cleminson chassis in an earlier post on this blog, I want to build some six-wheel coaches, especially since they seem to be rarely modelled, probably because of the difficulties of getting them round curves! The first step is to decide on suitable prototype(s) and I have put out a call for help about earlier diagrams, in the GWR forum. As an example, this is an early standard gauge coach, converted from broad gauge. At least, I think that is the story - Russell's 'GWR Coaches part 1' states (p.22) that these were built in 1882 for the broad gauge but that the photo was taken much later in standard gauge days. In which case, it seems odd to me that the oil lamps are still on the sides of the clerestory. I coloured the old photo using the same techniques I used for the Garter Crest, as described in my Lining & Lettering entries. I hope to share some of my experiences with the 'Silhouette' in my next post.. Mike edited to add more info about the illustrated coach I have now found Richard Spratt's splendid website at http://www.penrhos.m...chesIntro.shtml His site contains a mine of information about GWR short coaches and has answered all my queries so far. I now know that the coach illustrated above is to diagram U29, of which 12 were built in 1886.

Many thanks for the soldering info - the double-sided tape is a great idea Mike

"I wonder if IT advances might help us one day, eg running thousands of photos through computers to analyse and establish tiny differences in the colours" There's just an outside chance that something like this could become technically possible! There was a photographic process called the Lippmann colour plate, which relied on standing wave patterns being set up in a very fine-grained emulsion. The original colours could be seen by diffraction, when the plate was viewed in reflected light. Perhaps, the standing wave patterns in a normal plate could be enhanced in some way to give an indication of what colours were present. I doubt, however, whether GWR wagons will provide enough financial incentive for the necessary research Mike

I'm very impressed with your balcony and how you 'soldered it up' Whenever I try something like that, the older joints come apart as I try to make later ones! How do you hold it all together for soldering? Mike

"But oh, if I had a laser cutter now!" One of my Xmas prezzies is a 'Silhouette' cutter, which I'm hoping will provide a solution to this type of problem. See the thread at http://www.rmweb.co.uk/community/index.php?/topic/79025-a-guide-to-using-the-silhouette-cameo-cutter/ Mike