Caley Jim

I would say these are a bit OTT IMHO. Why not get something like these https://www.ebay.co.uk/p/18007801618 to try out, without spending too much and see how you get on. They seem pretty much the same as I have except mine have their own legs and have the LED, which I rarely use unless I'm trying to see something under the baseboard. Jim

Using magnification needs some practice and can take time to get used to. You fingers and the tools you are using appear to be moving much further than they actually are, so need to make adjustments. I too have a set of dental loupes which I used for most of the working day for around 12 years, prior to which I use a headband magnifier, so I suppose it comes as second nature to me. The ability to look outside the area of magnification as Nigel has described is useful on a number of counts, which is where the 'flip-up' type score over the headband style in my experience. Using cheap reading glasses is OK for those fortunate enough not to need corrective lenses. I have an astigmatism (my lenses are not spherical) so that type are no use to me. I would recommend getting some fairly cheap ones to start with and see how you get on with them before investing in anything too expensive. Indeed you might find, as I have, that they are perfectly adequate. Jim

The parts for the building have now all been drawn out and a start made on creating the texture paper for it. I printed out the drawing with the texturing on it, cut round the outline and tried it in place. I'm quite pleased with the way it is looking, but I hope the shallow steep roof won't be a problem visually. There won't be the black line around the quoins and sills and the pillars and pediment around the door recess will be built up in styrene. I just hope I can create a mix of paint to match the quoins. Jim

I use a set made by Lightcraft which sadly appear to be no longer available. They are like a pair of spectacles without the lenses or lens holders and with a magnifier mounted in front with an LED light also. They came with three sets of magnifiers, x1.5, x2.5 and x3.5. I find the x1.5 perfectly adequate for most work, though I have used the x2.5 once or twice for lettering. The higher the magnification you use, the closer you have to be to the work. I would recommend that, rather then using magnification with your varifocals, you get a set of cheap frames with your reading prescription in them and use these. I find it difficult to work with the magnification with my varifocals on as you don't have the full field of vision at the same focal length. Jim

While looking for something else, I came across this article I wrote for the 2MM Magazine on the jig I devised for mounting AJ couplings. AJ Coupling Mounting Jig.pdf Jim

In the West of Scotland, trips (or holidays) to the seaside were mainly to the Clyde Coast resorts, Helensburgh Gourock, Largs, Dunoon, Rothsay, Millport, etc. travelling by either NBR, CR or G&SWR depending on which side of the river you resided and which company you preferred with the final leg of the journey to the latter three by paddle steamer. You could also sail all the way from the Broomielaw Quay in Glasgow. Generally referred to as 'Goin' doon the watter'. Jim

Next up is the hotel itself. I had originally planned to base it on a red sandstone building here in Biggar which used to be a hotel, but decided that it wasn't suitable for the location on the layout, so instead I've based it on another hostelry in the town, but made it an enlarged version. The 'enlargement' is the two windows and dormer to the left, with the addition of the middle chimney head. As can be seen from the plan, it will be in very shallow low relief and the backscene will cut in a curve through the right hand section. Not sure how the roof will work out on this (the dashed line). I printed an earlier version of it and tried it in place on the layout. As can be seen, I've changed the left hand building to a gable end. It will be part of the market and in grey sandstone while the hotel itself will be red sandstone with the lettering in white. I also had to raise the whole thing slightly to suit the ground level and reposition the cellar window at the left hand end. I'm happy that it will provide the necessary 'visual stop' at the end of the bridge. Jim W

Yep, been there done that! See half way down that post! Jim

There is always the risk with doing that that it goes totally soft and is very easily distorted so it can be difficult to get a nice smooth curve on it, especially if it's fairly thin. Jim

Thanks, Graham. I remember the ones in Glasgow and Lanarkshire having that slightly yellowish/olive colour to them. I suppose it would depend on where they were quarried. Jim

Having just found this topic (via post on the 2MM SA VAG) and finding myself named in it I thought some response in regard to AJ couplings might be pertinent. Firstly I assume that '...the odd individual who uses Alex Jacksons or Three links.' uses the word 'odd' to mean 'just a few people', although there are those who would use it in its other sense! i started out using three links but quickly found that they were not suitable for exhibition use as I was the only one who could work them. I changed to AJs as they allowed me to still fit three links, and other headstock 'furniture', and also had the delayed action feature. I quickly found that steel wire was no use as the magnetism simply passed through the two couplings you were trying to disengage and locked them together. P/b wire was the way round this and it also has the advantage of tarnishing to a dull brown, making them even less visible. As an aside, the late Colin Brady, who used to help me operate Connerburn, claimed he had never managed to see them, but took it on trust that they were there! It is true that adopting them is a steep learning curve and they are not 100% reliable (is any discrete auto-coupler?). I have over 100 vehicles fitted with them and I still get the odd pair who will not couple up and just flip over one another, despite them being set accurately to my gauge. I use a rod with holes in either end to get the lengths of the hook and tail consistent and have a drawing printed out with the angles on it to get them as close as possible. I have also made a jig to get them positioned fairly accurately on the vehicle, both in terms of projecting the correct 1mm from the buffers and in horizontal and vertical alignment. Final adjustment to the gauge is done by gripping the wire close to, or behind, the axle and easing it slightly in whatever direction is needed. You get fairly good at judging this with practice. With the coiled version, they are so flexible that you really have to abuse them quite severely to knock them out of adjustment. On locos, the coupling doesn't need to have a dropper, but having as much flexibility as possible (via a coil) helps to prevent 'bounce-off' when coupling up to one, or a few, free running vehicle(s) and likewise 'hang-on' when uncoupling. I don't believe that a hinged coupling is any benefit in this respect as I have proven to myself, through experiment with a pair of large scale couplings, that when coupling up most, if not all, of the movement is horizontal. Jim

I think usually both. One over the desk for writing up the register and one (or more, depending on the size of the box) in the centre to illuminate the lever frame, track diagram, block instruments etc. I tried button batteries (3 x 1.5v) to power the 2 LEDs in my box for Kirkallanmuir, but found they only lasted less than 30 minutes, so they are now powered, via resistors, from the 12vDC supply for my uncoupling magnets and turnout actuators. Jim

The roof has been slated, and gutters, downpipes and barge boards fitted. The embankments either side of the bridge have also been textured and sprouted some gorse and other growth. I've also experimented with creating a cobbled entrance into the yard behind the stable block, including those long thin slabs that were laid to make the passage of cart wheels easier over the cobbles. Not particularly neat, but it gives the overall effect. I thought I'd try it in this location where it is at the back of the layout before I do it in the goods yard. A thin layer of watered down and coloured DAS, left to dry out, then moistened to soften the surface which was then indented with the edge of a piece of etch fret, for the long slabs, and a little tool bent up from more fret to indent the individual setts. A very light dust of black powder colour helped to bring out the detail. The long slabs also got a wash of greyish yellow as I always remember these having that slightly different hue from ordinary whin setts. Jim

Could it have been something to do with which brake was approved by the BoT/RCH? Jim

With no waist panels between the doors, it has a Wolverton look about it (LNWR/WCJS), but in that case it would have no eaves panels between the doors either. Jim

Mike Williams' book states that it is thought to date from 1868 when three drawings appear in the drawings register relating to boiler wagon, trolley number 1, but none of them have survived. The diagram shows the axle as being continuous, but I suppose that doesn't signify anything. It survived until 1917. Mike states 'In comparison the the buffer height, the wheels were probably 4ft in diameter.' In 1876 a 40T trolley (No.2) was built with totally enclosed bogies of 3'6"wheelbase and inside bearings. so I suppose that it is possible that No.1 had inside bearings too. Jim

You're welcome, Tim. An honour to have contributed in a small way to CF. I'm pleased with the way the various depths and thicknesses of the window framing have turned out, also that doorway beside the exit. Jim

Wonderful stuff as always, Mike. The CR had a similar vehicle, also with four bearings per axle. Dia.34 30T trolley No.1. Special wagons like this had their own number series. It too is slightly bowed upwards in the centre. One day I would like to model it and some other unusual trolley wagons the CR had. That. however, will be by drawing up the artwork for etches. Perhaps that is cheating a bit and not true scratch building as you are doing. Jim

Ah! In that case, sorry, can't help you there! Jim

It would help if you could be more precise as to what you mean by 'transition period'. Jim (for whom anything post-1914 is 'modern image')

I used an MX616 in my Jubilee Pug. Both Peter's Spare and Youchoos had them in stock at that time. It too has nice big (relatively speaking) pads, in fact it comes with a wire attached to the common +ve. Jim

But for kippers they have to be opened out flat! Arbroath smokies are a different thing. Jim

Have you soldered the footsteps to the W-irons? If so, I would suggest fitting a wooden clothes peg, of the sprung variety, over the axlebox and W-iron to hold them together while apply the soldering iron to the step and ease it off the W-iron with the point of a knife. I haven't tried it, but it would be what I would try if I was in that position. just watch you don't disturb the peg before you take away the soldering iron and let things cool. HTH Jim

From his comment, I suspect that Jerry, like me, is 'a bear of little brain' when it comes to matters electronic and digital! Jerry, forgive me if I misjudge you! Jim

Well, work on the Dunallander canopies has kept me away from the layout for a few months, however, having completed them I had a wee play operating session, which showed up some electrically dead bits due to soldered joints needing attention. It occurs to me that the latest addition to the loco fleet, 323 class 'Jubilee Pug' 0-6-0ST No. 217, hasn't featured here yet, so here is a shot of it at work shunting the interchange sidings. Details of the build here. I decided it was time I made some more buildings (my least favourite part of modelling) so turned my attention to the area on the far side of the bridge over the station end. Here I intend to have a hotel facade stretching to behind the warehouse with it's yard behind a stable building atop the retaining wall behind the platform. This building will be cut across by the backscene and all that will be seen is a blank brick wall. The building is a foamboard shell with the visible parts covered in brick paper. To give it some character I drew up some sandstone quoins, printed them off, cut them out and glued them in place. I've also given it a wooden ventilator on the roof. The top rows of slates have still to be added, along with gutters, downpipes and barge boards. The strips of foamboard along the front space it from the retaining wall and will form a base for some brambles etc . Jim