simonmcp

2 hours ago, Stubby47 said:

That picture reminds me of the day I went out for a employee's trip around the various China Clay works that surround St Austell.

We all piled into the long land rover and Ivor Bowditch, the PR bloke, took us around.  First stop was over looking one of the larger pits, probably Littlejohns.  We stopped at the top of the pit and Ivor pointed out various bits of clay washing machinery.  He moved the landie a bit further round and pointed out some tiny Volvo trucks and the conveyors.

He moved again and this time instead of stopping at the edge, he drove straight over !  Of course , no one was strapped in and there was a certain amount of swearing as we bounced down the obvious (now !)  clay road to the pit floor.
Where upon the tiny Volvo trucks became these huge behemoths that we were warned never to get in the way of !
Later we travelled through the old railway tunnel to Fowey Docks.  Again, there was a warning that once the light went green, enter and keep moving above 30mph, as the lights were timed and the artic clay trucks would be coming the other way, at the same speed, so you needed to make sure you got out in time. 

I went on a Cornwall Railway Society trip with Ivor Bowditch as our guide, we went in a 52 seater coach down a clay pit. Also stopped for a Guinness and Pasty lunch, handsome. Were not allowed to photograph the loaders at Carn Point due to the dust, they were a bit touchy on that subject.

Or do what they did at Uxbridge.

http://www.disused-stations.org.uk/u/uxbridge_vine_street/index1.shtml

I think your Coal Merchant's office is really great and I think using your skills to 'make' it in Tinkercad are just as valid as someone hacking plasticard to scratch-build one.

I really appreciate you taking the time to go into detail about where to place items and how you create them. Keep up the good work and don't listen to the nay-sayers, they are only hoping you'll get rid of it in their direction.

5 hours ago, Annie said:

Mike, that's exactly how I feel about people who purchased a pile of old photos at an estate sale and are suddenly claiming 'copyright' on ebay or one of those photo sites like alamy.com.  With pre-1940s photos my attitude is if you personally didn't take the photo then bog off because you haven't got a leg to stand on with claiming copyright.  Alamy in particular is notorious for claiming rights to old photos and illustrations that are in the public domain. 

And you are quite right about reproduction fees not being the same thing as copyright.

I don't think we have to worry about the Broad Gauge Society claiming money grubbing copyright on anything though.

Being a graphic designer and society magazine art editor (posh name for dogs body) I do know a little about UK copyright law. I don't know anything about any other countries copyright law though. In the UK copyright of any visual work is in the actual piece of work, it precludes the reproduction (copying) of the exact image in whatever form (there is very complex case law about how much alteration is needed to make it not an exact reproduction).

So if you have an original plate negative you can, after copyright has elapsed, make and sell copies.

What you can't do is reproduce an image that has been generated by someone else from a copy that they possess, or a scan of a book or an image from the internet, especially one with a watermark.

That is obviously a gross over simplification, as with most laws the copyright one runs to countless impenetrable pages of mind numbing complexity.

I agree though that there are a lot of companies out there who are using scare tactics to try and make people pay for images that are also in the public domain (just don't reproduce their copies as that is against UK copyright law). I personally am not going to name any of them because I know people who have been sent rather large bills by them.

Hi Chris, there are some great tips on the 3d printing forum on RMweb. One thread is all about resin printers and has some tips about orientation which apparently is crucial for getting consistent results. Sorry I am on my phone at the moment so can't put a direct link.

21 hours ago, chuffinghell said:

Window and door loosely fitted (I noticed a pin hole in the window frame after priming so I need to fill that) but otherwise I’m quite pleased with the results 

 

 

Also glued the roof together so it’s looking more like a building now. As usual I’ve run out of primer so I’ll need to make a sight detour and call Halfrauds on the way home from work tomorrow

I think the pin hole is supposed to be where you put the lamp that lights the weighbridge in the gloomy winter. Of course I could and probably am totally wrong.

If you really want to feel like a 'Dummy', just buy one of their books. I taught computing and I gave up trying to understand all of their books long ago.

7 hours ago, Edwardian said:

Meanwhile, yesterday a parcel arrived at the Castle Aching Parish Hall (not that it has one), and, this morning, I have been at sufficient leisure to inspect the contents.

 

These are wagons from the talented Mr Turbosnail and will sit in the stash until it is time to turn to All Things Good and South Eastern.

 

 

My immediate focus will return to the GER wagons, now the dogs are walked, the lawns are mowed and after I've cleaned the house! 

I would cut off the supports sooner rather than later as I believe the resin gets progressively more brittle with age.

5 hours ago, MrWolf said:

 

I do that with my paintings, not only does it have an effect on the covering colours, it's like scribbling notes on the canvas about where the light is coming from.

When painting figures I paint the whole thing in dark grey or black first.

Apparently, I may have been told in Art College - I was a little distracted by the young ladies so my memory of that time is a little hazy, I think portrait painters use olive drab under flesh tones. Haven't tried it myself yet (I left Art College in 1981) and I think it may only work under oil painting.

1 hour ago, MrWolf said:

 

Can it come under a proper paint job? 

The military modellers are very fond of 'pre-shading'.

22 hours ago, StuartM said:

I meant to ask, does anyone have a solution to the RGB/CYMK problem
In that you can find the perfect texture on the screen, but print it out and the colours are radically different.
Having watched a few youtube video's explaining the whys and the wherefores and the possible workarounds, I just wondered if anyone cared to share their solutions

Having worked in print since 1982 I feel somewhat qualified to answer your question. Sadly I doubt it's the answer you want. At one company I worked for we had a £14,000 proofer that was supposed to be a perfect match to what would be produced on the 4 colour offset lithography presses. It wasn't.

The colours that will be furthest away from the RGB when converted to CMYK will be dark or deep greens and browns. I am not sure whether you know but C stands for Cyan which is a fairly light blue, M is Magenta - almost pink and of course Y is Yellow - a quite acid shade and fairly light. Because each of these colours are light the only way of producing deep colours is to add in an amount of B - Black. This usually just makes the colour Muddy. 

I wish I could give a solution but as you have found it is a compromise. You can get programs such as Photoshop to approximate the conversion on screen for you but it will always be different as a screen uses light and the printer uses pigment.

Always convert the image on screen, in your photo editing software, to CMYK which should give a better approximation of the printers output. 

Also as mentioned in another thread there are Colour Profiles to consider and it is best to stick with one throughout the process (you may find one that your printer uses). You can buy Six Colour, colour printers that get closer to the true colours but even with a colour calibrated screen what you see on screen is never going to exactly match what prints out of any printer no matter how expensive. Another thing that can affect the perceived colour is the resolution of the screen and printer. Most, if not all, screens are lower resolution than the printer. Although what most people quote as the "dots per inch" on an inkjet or laser print are actually "lines per inch", it is only "halftone" pictures that are made up of dots (on low quality newspapers you could almost see the dots without a magnifier). This difference will also account for some of the colour variation.

Sorry to not be able to give you a more positive answer and a solution.

One thing I do, because I have Photoshop (other photo editing programs should have the same facility), is do a test print and tweak the colours to try and match what I want to get out of the printer. Your photo editing software should have what is known as a "colour picker" to show the CMYK values at any given point in an image. Not very scientific and it's trial and error, but will get you closer to an acceptable result. Be aware that laser printers will give different results from inkjet ones as well so try and stick to the same screen and printer throughout the whole process.

I wouldn't waste much money on fancy screens or calibration devices though. They may seem to get closer on some colours but will probably be further out on others.

Another thing to be aware of, and it's just happened on my screen, is if you have a 'blue light filter' that comes on after a certain time, that will massively affect your on-screen colours.

Simon

8 hours ago, DougN said:

Yeah Sydney gets double the rain in half the time.... of Melbourne. 

 

As we say in melbourne " don't like the weather give it 5minutes it will change..."

 

The only place in the world we're in the morning you leave in shorts and a t shirt and at the end of the day the heating is on! Every season in one day... yes all 8 of them

Same as Cornwall, tis often Soft, and the rain is usually at least 45degrees. Wouldn't live anywhere else though. 

There is a section of stone blocks on the embankment West of Lanner in Cornwall which was maintained by the Cornwall Railway Society. Pictures should be on their excellent website.

Try sticking them to a low tack double sided tape onto a cutting mat. (The editor won't seem to let me put the explanation after the quote)

7 hours ago, MrWolf said:

 I have some tiny etched plates for each of the doors. I think that I will paint them whilst still on the fret. 

I wonder how far I can get one to fly when cutting it from the fret and will I ever find it again?

 

36 minutes ago, chuffinghell said:

These are the only fonts available

 

 

I quite like the bottom left one or maybe the top left one

 

The size is 16mm x 10mm (4ft x 2ft-6") so quite a lot bigger than @Harlequin mentioned but I have to take into account the limitations of 3d printing and the limitations of my ability to paint it 

 

'Painting' the lettering should be no problem. Paint the whole sign the background colour, then use whatever; cylindrical, relatively nonporous item you have to hand (insides of till rolls are good), paint it with a smooth thickish coat of the paint you want the lettering to be in and then gently roll it over the lettering. This should then coat the lettering with a layer of paint, just like a print roller.

Unless you've already attacked the old doors, you could always just raise the rest of the building by 2mm to clear the rail tops. I can't find a picture at the moment, but quite often the track looked to be slightly lower than the yard around. The GWR would have sidings slightly lower than the running lines to help prevent runaways onto a running line.

I was brushing my varnish on, so maybe if sprayed it wouldn't wash the colours out of the inkjet prints. Incidentally I found that some sheets printed on a colour laser printer were not very well fused to the paper and the toner came off when brushed with a stiff paintbrush.

I think if you look for Exterior varnish then that is usually not water based. Otherwise check out the section (if it is on the website) about cleaning the brushes out after use, if it says use thinners or whitespirit then it should be okay.

Just make sure the varnish is not water based, found that out the hard way.

Wrong information, so post removed.

Learning how to work your way out or back from an error is a very valuable piece of knowledge. It is 'Relatively' easy to do something if you don't make any errors or "get stuck" but having the means to move past an error is the difference between wanting to learn more or giving up in frustration. So as others have said, please leave in those sections where you recover from an error. You are amazingly generous with your time and skills, thank you for doing these tutorials.

15 hours ago, Pacific231G said:

....you can now even get cosmetic kits to "francify" Peco  code 75 turnouts.  

 

Hi Pacific231G, do you have a link to the supplier of these kits please?

I don't know if Chitubox has 'Adaptive layers' in as an option as if it does that would give that effect.

Surprisingly there was a pure water spring near where we fished and I suppose that kept the water clean enough for the voles to survive. We certainly drank the water and didn't seem to come to any harm.

I hope you're going to have at least one "Ratty" or water vole lurking in the edge in some reeds. There was always one in the canal bank near where I used to fish.

12 hours ago, TEAMYAKIMA said:

Have recently moved it to 2001.

 

Let me guess, that's a 2004 model minibus - yes? 

The Mark 1 Golf is fine though. The posters are nice as well, again a nightmare to get everything in a precise date. I sympathize with your desire to educate the exhibition goer but as you say there eventually becomes a limit to what you can do.

There's a thread elsewhere on RMWeb. The last comment I saw someone said they hadn't been charged either.