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Mikkel

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Blog Entries posted by Mikkel

  1. Mikkel

    A Pantechnicon for Farthing

    By Mikkel,


    Horse-drawn
    A horse-drawn furniture removal van has appeared at Farthing. The kit is a reborn Gem product, marketed under the John Day Models label alongside other re-introduced whitemetal ranges. It’s all run by Daryle Toney who is very helpful (no connection).
     
     

     
    The main parts are a fair fit. As usual I used Loctite Gel to stick it together. Unlike most superglues it does not require a perfect join to bond well.
     
     

     
    Some parts did require fettling. This is the front of the van. I filed the sides a bit and shortened the supporting bracket.
     
     
     
    Coming together. It’s quite a beast. If Wikipedia is to be trusted, Pantechnicons ranged from 12-18 ft in length. That’s 49-72 mms in 1:76 scale. The kit is 67 mms long. It’s also quite tall, more so than the common types seen in photos.
     
     


    For some reason the parts for the end section get in the way of each other, so required a bit of work. First the brackets on the end panels were shortened, using the “Salami method”.
     
     

     
    The lower floor casting doesn’t line up with the end panels. The instructions suggest shortening the panels, but after consulting prototype photos I chose instead to saw off bits of the floor casting itself. 
     
     
     
    This allowed everything to line up nicely, with a section of styrene employed as gap filler. 
     
     


    I then entombed the ghost of Mrs X in the van. Mother of a childhood classmate, she once tore into me for spilling cocoa on her sofa. It wasn’t my fault, her son pushed me, but she wouldn’t listen. I hereby condemn her to travel forever in this empty furniture van, with not even a pillow to sit on.
     
     

     
    Two padlocks seal her fate. Goodbye Mrs X, nobody messes with a railway modeller.
     
     


    I couldn’t find room to fit the rear springs properly, so cut a notch in them for the axle.
     
     

     
    You can’t see the dodge once the wheels are on.  I would have preferred slimmer wheels but couldn’t find appropriate replacements. Filing the spokes rarely leads to good results, so I’ll live with it.
     
     

     
    A simple piece of plastikard prevents the fore-carriage from dropping off, while still being free to rotate.
     
     
     
    The driver’s seat was filed to a more discrete size. Judging by preserved Pantechnicons, it was actually more common for the driver to sit on the roof, but I did find one or two photos with a lower seat.
     
     

     
    Bits of 0.45mm wire were added for arm rests and supports. The foot-rest was raised a bit to match the driver. Forgot to scribe it but managed it later.
     
     
     
    The shafts are fitted with bits of wire, which plug into holes in the fore-carriage.
     
     

     
    The horse is included in the kit. The driver is a seated passenger from Andrew Stadden’s range. 
     
     

     
    At this point I was confronted by a delegation from United British Draught-horses for Liberty and Equine Defence (UNBRIDLED). They informed me in no uncertain neighs that a large Pantechnicon requires at least two horses.
     
     

     
    So I hastily fashioned a two-horse drawbar...
     
     

     
    ...and ordered a couple of Shire horses from Dart Castings.
     
     

     
    Fearing further industrial action, I added some steps and grab handles for the driver. Then primed the whole thing.
     
     


    Next, the livery. The prototypes were often extensively lettered.
     
     

     
    And colourful. I normally go for subdued colours, but it’s been a dreary winter and I felt like a bit of Rock & Roll, so took inspiration from this striking example.
     
     

     
    I spent some time drawing up various designs in Microsoft Word, which has more options for sizing and spacing text than is at first apparent.
     
     

      
    The curves were made to fit by importing a photo of the model into Inkscape, drawing the appropriate curves and then copying the shapes back into Word.
     
     
     
    I printed selected designs on paper, sprayed them with matt primer to protect the colours, and cut them with a fresh blade. Paper is of course a bit crude compared to DIY transfers, but it’s straightforward and you can test designs directly on the model. @kirtleypete has even used it for locos.
     
     

     
    The van was painted yellow and black, and the paper then mounted with a thin layer of lightly diluted PVA.  
     

     
    Final details included a driver’s handwheel for the brakes, plus tarps, rope and other rooftop clutter. 
     


     
    I added some chains from Cambrian Models and finished off with MIG weathering powders. The odd-looking loading flap is prototypical, if rather chunky.
     
     

     
    I also fitted chains to the Shire horses, mounted with a wire loop drilled into the harness. Looks like the Oryx wants in on their gig, probably an agent from DISRUPT (Dissident Ruminants for Progressive Transport).
     
     

     
    As usual, there are no reins. My layouts are set up and dismantled all the time, so the normal solutions – e.g. fuse wire - are just not practical. What I need is something thin yet robust enough to fit quickly with a pair of tweezers. Ideas welcome.
     
     
     
     
    As you can see, Bailey & Sons’ strategy was to locate their offices at railheads along the Berks & Hants line. This worked well and the company grew to become one of the major removal firms in the area.
     
     

     
    Yet for Mr Bailey, Senior - lover of all things yellow – it was a source of constant irritation that his horses didn’t match his vans. 
     
     


    Eventually Mr Bailey proposed to dye the horses yellow. 
     
     

     
    But his sons - brought up in a sickening sea of yellow - finally rebelled and said no, father, enough now.

     
  2. Mikkel
    My GWR E37 tri-compo is ready for painting, built from the Slater’s kit. Earlier I did a blow-by-blow account of the C19 build from the same range, so this post will focus on new experiences and things that were different.
     
     
     
    There was more flash around the windows than in the C19 kit, especially at the bottom. The window edges are quite thin and hard to distinguish from the flash, and therefore easily damaged when the flash is removed. Inspecting the sides from behind helped.
     
     
     
     
    This time I remembered to drill out the holes for the door furniture before assembling the sides.

     

     
    A drawing of the interior layout can be found on the excellent GWR Coaches website. The E37s had two lavatories at the center, accessed from the neighbouring First Class compartments. The kit does not provide for this, so I rebuilt the arrangements to indicate it. No arm rests though, or loos in the lavs!
     

     
    I fitted the seats with a slight gap each side. I find it easier to fit the glazing that way.
     
     
     
    The bogies in these kits are designed for inside bearings, but I prefer ordinary pinpoint bearings. So as in the C19 build, I applied a bit of freestyling (thanks again @Darwinian for the idea).
     
     


    I used Wizard waisted bearings (ref no. 40002), with the tip filed down to accommodate the axle boxes as can be seen on the r/h bearing here. The axles boxes themselves also had to be opened up inside to fit over the bearings, done with a round file as shown.
     
     


    The brake shoes were a very tight fit against the wheels and tended to jam. I know others have had the same problem. I found that it helps to bend the folded brass tabs that hold the brakes backwards, then gently bend the brake shoe itself forwards to align with the wheel.
     
     

     
    The E37 kit has Dean 6’4 Bogies (left) while the C10 kit has 8’6 bogies (right). Selecting coaches with different bogies is a nice touch by Slaters.
     
     

     
    The two types of Dean bogie in direct comparison. On top is the Dean 8´6 wheelbase bogie, which actually has a shorter overall frame and springs than the 6’4 wheelbase bogie below it. Queen posts also positioned differently.
     
     
     
    The queen posts have to be cut to allow the bogie to swivel.
     
     


    Trial fit of the bogies.
     
     

     
    I then fitted the underframe details. A slight problem here: If fitted as per the instructions, the vacuum cylinders collide with one of the bogies. So I moved the cylinders a little to one side.
     
     

     
    Next, the footboards.  There was a factory error with one of the long footboards and one of the solebars, both oddly divided at one end.
     
     

     
    So I built up new end parts from styrene…
     
     

     
    …which wasn’t too noticeable when fitted.
     
     

     
    The lower footboards were then fitted to the bogies. I used my own spacers (in the box) to adjust the ride height of the bogies. I find the etched ones that come with the kit a bit fickle.
     
     

     
    Once I’d found a good ride height for the bogies  (i.e. the minimum required to let them swing freely), the center footboard sat too high.
     
     

     
    The brackets for the offending footboard only have one fixed position - so I resorted to a crude fix, using pliers to first straighten and then gently re-bend the brackets at a lower position, as seen here.
     
     

     
    The kit provides for sprung buffers, but I went for fixed ones.  A great drama ensued. One buffer ram got stuck in the housing too far out, locked solid by Loctite. I raged at the injustice, the Universe darkened, planets imploded. Eventually I managed to remove the buffer beam, carve out the buffer housing, cut off the buffer ram, shorten it, and butt-solder it back on the guide. Given my soldering skills, that was a miracle. The rest of that day I was Alexander the Great, conqueror of worlds. Modelling involves epic battles every day, who needs TV 🙂

     
     
    The gas lamptops and piping were fitted using handrail wire from 51L. The lamp tops for the toilets add a bit of character. I did the piping for these with microstrip (later filed neat).
     
     

     
    It strikes me that toilet lamp tops are poorly covered in the literature. Can’t think why. They are rarely seen in photos, but I assume that’s what we see in this Paddington shot, on the second coach in platform 5?
     
     


    As built the coach weighed in at 87 grams. That felt a bit light. I believe Iain Rice said 25 grams per axle. I like my stock a bit heavy so went for 110 grams total.
     
     

     
    The extra weight was added using Liquid Gravity from Deluxe Models, stuck down with thinned Card Glue from the same outfit. I’ve been monitoring that combo on other stock for 10+ years, so far all is well.
     
     
     
    So that’s where I’m at. Didn’t have a coin to indicate size, so grabbed an Oryx. Very disorienting, scale is an interesting thing.
     
     

     
    Door handles, vacuum pipes, couplings etc will be fitted after painting.
     
     
     
    I’m pondering the livery. The plan was to go for the full pre-1908 chocolate & cream as per my normal modelling period and illustrated on the box. But the 1908-12 all-brown is growing on me. Decisions, decisions.
     
  3. Mikkel
    Here are some illustrated notes from experiments with brick- and mortar-colouring for my 4mm scale station building. Please note that these are just my own bumbling exercises. There are no silver bullets here.
     
    Method 1: Flood & Wait
     

     
    So far, my standard method has been the well-known "flooding" method. I paint the brick sheets dark red (Vallejo 70.814 Burnt Red)…
     
     

     
    … then when dry flood the sheet with a milky white wash (Vallejo 70.918 Ivory). This is then left to dry.
     
     

     
    Sometimes I’m happy with the result, as on my stable block above.
     
     
     
    But at other times it comes out messy, like here. These are SEF brick sheets. I find that the method works best with Slaters sheets which have more sharply defined mortar courses. But my Silhouette cutter doesn’t like them, so I'm stuck with the SEF sheets.
     
     
    Method 2: Wipe & Go
     

     
    Looking for more control of the results, I tried another time-honoured method - i.e. painting a brick sheet, then wiping off the paint with a finger. This leaves paint in the mortar courses. Not a bad result for a quick effort, though it only adds colour, not texture.
     
     

     
    Another attempt with the same method, using a darker paint for a different look. I know most people use a cloth or sponge to do the wiping, but in my view nothing beats the subtleness of a finger.
     
     


    Lovely mess! I’ve always liked Phil Parker’s credit to “painty hands” in his blog tagline. I agree, it makes you feel alive 🙂
     
     
    Method 3: Polyfilla Pointing
     
    Turning to another method, I looked at @GWR57xx's lovely 7mm coaling stage, where the mortar is done with filler, using the technique described by @47606odin in this useful video:
     
     
     

     
    I have only seen the filler method used on 7mm scale laser cut structures, but decided to try them on 4mm embossed plastic sheets.
     
     

     
    I first tried rubbing lightweight Polyfilla directly onto an unpainted SEF sheet. Decent result, though the Polyfilla fills up the mortar courses almost too efficiently.
     
     

     
    I then tried it on painted test pieces. Here the Polyfilla absorbed some of the paint, turning pink. The paint had dried for 24 hours, maybe longer is needed. And I see that @GWR57xx used Halfords spray paint, which I think is enamel. I used Vallejo Acrylics, maybe that’s the problem.
     
     

     
    I also had challenges with the Polyfilla acting as a kind of abrasive when I wiped it on, removing the base colour (right). But these could just be teething problems, I may revisit this method later.
     
     
    Method 4: Paint & Pigment
     

     
    The Polyfilla method gave me an idea for an alternative approach. I painted a piece of SEF brick sheet… 
     
     
     
    …and immediately stippled on MIG modelling pigment (Sinai Dust ref A. MIG-3023) while the paint was still wet.
     
     

     
    I then quickly brushed most of it off again with a brush. The remaining pigment sticks to the wet paint.
     
     

     
    Finally I used a damp (not wet) finger to remove the pigment on top of the bricks. I found that a “prodding” motion worked best, along with an occasional diagonal wipe. The things we learn!
     
     

     
    I like the matt texture and slightly uneven look left by the pigment. The mortar courses are overscale, but that seems to be the case on most brick sheets.
     

     
     
     


    Here is the Paint & Pigment method used on Slater's brick sheets. Incidentally, comparing this photo to the previous one highlights the differences between Slater's and SEF sheets (different bonds notwithstanding). The Slater's bricks are more sharply defined.
     
     


    The surplus pigment is not wasted, I worked on a newspaper so most of it was re-used.
     
     


    The method does have issues. The pigment transforms the shade of paint, so I had to experiment carefully with different colours first, as above. The outcome is also affected by the thickness of the paint, the relative mix of paint and pigment, and how quickly the pigment is brushed off! The type of pigment used also matters, e.g. Humbrol powders didn’t work.
     
     

     
    So I had to go through a good deal of trial and error with this method. On larger surfaces like those above I found that I had to work quickly, or the paint would dry before the pigment came on.
     
     
     
    I liked the results though, and eventually ended up using it on my station building, as seen here.  
     
     

     
    I’m modelling my station in newly built condition so I assume the bricks and mortar should be fairly clean. Although I’m not quite sure what happens to the colour of mortar as it ages?
     
     


    In any case, a bit of weathering may be in order. I’m currently experimenting with that. I revisited the old trick of rubbing a colouring pencil diagonally across the sheet. A very soft pencil seems to be vital, or it will rub off the paint.
     
     


    I got better results with very careful dry-brushing using a dark brown colour. I think I’ll try a bit of that on my station building.
     
     

     
    So that’s where I am at currently. The “paint and pigment” approach has worked out OK on my station building, but it involves various variables that can go wrong. I’d like to find a method with fewer risks and more control. Or maybe what I really need is a therapist 😊
     
     
  4. Mikkel

    God Rest Ye Merry Gentlemen

    By Mikkel,


    Videos
    Here's a short video to round off 2023.
     
    I won’t forget this year anytime soon, it’s been an emotional rollercoaster. Our first grandchild was born, my brother got married, our daughter turned 30, mum turned 90, and then in September dad died.
     
    This christmas I want mostly to do simple and uncomplicated things while pondering it all. So here’s a little project that began in our attic.
     
    Merry Christmas and Happy New Year everyone!
     

     
  5. Mikkel

    The station building: Walls and gables

    By Mikkel,


    Structures
    Here’s an update on Farthing’s main station building, modelled on the 1910 prototype at Newbury (see this post for details). This post summarizes work on the walls and gables. There have been other developments, will update on those later.

     


    Although the structure at Newbury is still with us there have been numerous detail changes over the years. Above is a selection of those I have spotted. Most changes appear to have been made after the station was built, so I’m going with the original GWR drawing.
     
     

     
    The GWR drawing was imported and re-drawn in Inkscape, allowing me to cut the brick sheets in my Silhouette cutting machine.
     
     


    The Silhouette can’t cut styrene deeper than 10 thou, so it essentially scribes the outline on the back of the brick sheet (not the front, too bumpy) and I then cut through with a scalpel. 
     
     
     
    The brick sheets are SEF. They aren’t ideal for the Newbury brickwork, I had planned to use Slater’s, but the first batch of Slater’s crumbled in my hands and the next batch didn’t cut well in the Silhouette.
     
     

     
    The outer “skin” for the sides were then ready.
     
     

     
    A first inner layer was added, using 1mm Foamex from Green Stuff World. The Silhouette cuts this well but again only partly through, so more scalpel work followed.
     
     
     
    The first layer of Foamex fitted behind the brick skin. I gave up replicating the prototype’s bullnose bricks and subtle profile around the window edges.  I did try, using good advice from RMwebbers, but couldn’t achieve a convincing look. 
     
     

     
    Instead, the brick edges around the windows were simply indicated by indenting the foam with a suitable tool from a scribing set. It’s the biggest compromise on the model but I can live with it.
     
     

     
    The basic sides and ends, a DIY kit of sorts.
     
     


    I then set about adding the Bath stone embellishments.  Here, different types of styrene rod have been joined to represent the profile of the lintel bands.
     
     


    The lintels were cut on my Silhouette, with decorative parts fashioned from triangular rod and small “V’s” cut from Evergreen sheet. 3D prints would have been more accurate, but I enjoy piecing things together on my own – despite the compromises.
     
     


    The prototype stone sills had an overhanging lip, replicated with laminated strips of styrene. Try not to get too excited by these riveting photos :-)
     
     


    The parts were sprayed with Plasti-kote primer, and later painted Dark Sand (Vallejo 70.847).
     
     

     
    The walls were painted using a new approach I hadn’t tried before. Will post separately on that.
     
     


    Next the roof bands were stuck on.

     


    Then the lintel- and sill bands were fitted (or is it “string courses”, my vocabulary fails me here).
     
     

     
    The plinth, with the blue bricks that were such a distinctive feature on 20th century GWR structures.
     

     
    And finally the lintels were stuck in place. I cheated as they should be flush with the brickwork, but that would have entailed some very tricky cutting of the SEF sheets which I think wouldn't have looked neat. The vertical ornaments help conceal the dodge.
     
     

     
    I then set about decorating the gables. Won’t take long, I thought.
     
     

     
    But there followed much faffing about with bits of styrene, combining various shapes to compose the ornamentation. 
     
     

     
    The faux gables including raised brick courses above the lintels, and the ornamentation coming together.
     
     


    The decorative “pinnacles” (what's the word?) were tricky, being hexagonal yet slim. I first fitted strips of brick sheet on a hexagonal Plastruct rod, but the thickness of the SEF sheets made them overscale.
     
     

     
    So instead I just scribed the hex rod directly to indicate mortar courses, as seen here. Far from perfect, but it blends in OK. Decorative balls were made from pinheads, stolen at night from my wife’s sewing table. She knows, but pretends not to.
     
     

     
    There were two gables, so it took a while. If deconstructed each gable would consist of 101 separate bits. Probably not unusual for a scratchbuild, it’s just that normally we don’t count!
     
     
     
    An overview of all the brick sides. My camera exaggerates the colours. A few final details (downpipes etc) will be added later.

     


    The Bath stone was looking a bit plain (bottom), so was lightly weathered (top), though the camera doesn't show it well. I want the structure to look new, i.e. within a few years of construction. [Note to self: Vallejo Pigments Natural Sienna 73.105 + MIG Panzer Grey Fading P035].
     
     

     
    At 83 cms this is the longest structure I have built. After years of happily snapping small layouts, I’m struggling with the photographic challenges of such a long structure.
     
     

     
    First passengers have arrived! (click image for larger size). I had planned to divide the structure into 2-3 separate sections for easy storage but am now thinking it’s easier to just build it as one whole unit.
     
     
     
    A dry run with all sides in place. The windows are almost ready to fit, and parts are being cut for the interior carcass. More on that later.
     
  6. Mikkel

    Copenhagen to Penzance by rail

    By Mikkel,


    Misc.
    Back in June I had some work to do in London. I live in Copenhagen, so a devious plan was hatched to extend the work trip with some time off for railways and family. I even managed to do a bit of research for the Farthing layouts.
     
     

     
    I went by rail to London. It was 16 hours on 5 trains, but I enjoyed the views and got most of a day’s work done on the laptop.
     
     

     
    Early departure from Copenhagen Central at 5.44. No rush to the airport hours before, no security checks, no queues, no boarding hassles. Loved it.
     
     


    We crossed the belts from Zealand to Funen and then to Jutland. Part of me misses the old ferry crossings with the coaches on board, but the bridges are certainly faster.

     


    I got off at Fredericia, an important Danish junction. While waiting for my connection I watched the trains divide for different destinations in Jutland.
        
     


    A lengthy car train had come up from Germany. Quite a fortune here.
     
     

     
    Modern day shunter at work.
     
     


    Then on to Germany and Hamburg. I’d chosen an itinerary that gave me 45-90 minutes at each interchange. It avoids the stress of small delays and allows time for a quick bite or drink.
     
     

     
    That proved a good idea. In Hamburg the schedules are tight and platform space limited. There was a 15 minute delay and we went through a series of “platform hopping” exercises. I watched a tired and rather sarcastic train manager on the platform:
     
    Passenger: “What platform for the train to Bremen?”
    Train manager: “It has just been announced”
    Passenger: “Yes but we couldn’t hear it”
    Train manager: “Then you must listen better”.
     
     

     
    Next was Cologne, with its light airy feel and the iconic advert for “Echt Kölnisch Wasser” on the end wall. There’s a lovely vibe to these big German stations in summertime.
     
     

     
    But for some it’s just work of course!
     
     


    Then on to Bruxelles Midi (French), a.k.a. Brussel Zuid (Flemish). I liked the large destination board, no tiny screens here!
     
     


    Next the Eurostar, my first trip. TBH I was a bit disappointed, a dull interior and the Chunnel completely dark. No starched uniforms, no silverware, no sips of champagne. Oh well.
     
     


    St Pancras made up for it though, sleek and modern yet carrying history forward.
     
     


    Outside St Pancras, the old Midland hotel beckoned. Fat chance on my budget! I headed for my drab little hotel nearby, with a tiny basement room where you could hear the Tube rumbling by. At least it felt real.
     
     

     
    Next morning I had a few hours before work began, so took a walk and paid my respects to the other termini in the area.
     
     

     
    King’s Cross first.
     
     


    I liked the architecture here, those arches mix aesthetics and function so well. Good looking trains too.
     
     


    I’m a steam type but can appreciate modern stock, and Kings Cross was full of it this morning. 
     
     


    The booking hall also works well, I think. 

     


    Then, er, Euston. 
     
     


    Good idea.
     
     


    But I enjoyed the outside seating area. I understand there was quite a commotion when the old station was demolished. No wonder.
     
     


    The stone lodges are among the last remains of the old Euston. The station names are a nice touch. It's now a pub, but sadly too early for beer.
     
     


    After a week of work I had a weekend + two days off, and duly headed for Paddington.
     
     

     
    They say that time travel is impossible. But sometimes if you pause and squint a little…
     
     

     
    … it is not so difficult. (Source: Getty Images).
     
     
     


    Nice trains too.
     
     


    When at Paddington I have a tradition: A Cornish pasty and a mag from Smiths. After a long absence it was nice to repeat it - though I doubt that the Kernow fraternity on here would approve of mass-produced pasty!
     
     


    I headed West, stopping first at Reading to see if anything remained of the old goods yards there.
     
     

     
    I was especially interested in Vastern Road Yard, photos of which I have often pored over. The tree-lined perimeters provided inspiration for the goods yards at Farthing. (Source: Britain from Above).
     
     


    Well, there are still trees. The rest is a shopping center and car park. Such dazzling ingenuity.
     
     


    I looked for the site of an atmospheric photo that appears in the excellent GWRJ articles on Reading goods workings by Chris Turner and John Copsey (Nos 81 and 82). 
     
     


    The view today. Ho-hum.
     
     


    Further down the road, the old King’s Meadow Goods Yard is now an office/ industrial estate. But the bridge that carried the GWR over the connecting line to the SECR remains.
     
     

     
    A Google Earth view of the bridge. Seemingly the connecting line to the SECR is still there. I couldn't spot the track from the ground though, has it been recently lifted/re-arranged?
     
     

     
    Anyway, here’s one for @Compound2632, who has an interest in the Huntley & Palmer’s biscuit factory. If I’m not mistaken this is the “Biscuit Tunnel” through which the factory sidings connected to the GWR yards.
     
     

     
    The tunnel can be seen from the other side here, in 1928. Huntley and Palmer’s at the front, with the outer reaches of King’s Meadow yard top left. (Source: Britain from Above). 

     
     
    And then it was Newbury. I started my model of Newbury's main station building during the pandemic, so it was quite an occasion to finally arrive here.
     
     

     
    We pulled into the old Didcot bay and I alighted from our set of clerestory coaches.
     
     

     
    Oh sorry, wrong century. Here we are in 2023. Same bay platform, though the footbridge disappeared recently to make way for the OLE.
     
     

     
    Newbury station was rebuilt to this condition during 1908-1910, with through lines in the center and loop lines along the platforms.
     
     
     
    The core of the layout is still there, as are the main station buildings and original canopies.
     
     


    I spent a pleasant couple of hours photographing the station for my model. 
     
     


    The station buildings have been through major refurbishment recently, and the approach is still being developed.
     
     

    The canopy is a standard design used elsewhere on the GWR.
     
     


    The supports can be found in the Ratio GWR canopy kit, seen kit-bashed here at Farthing.
     
     


    The buildings may look intact but have seen multiple detail changes over the years. This, for example, is the front of the old tea rooms, next to the refreshment rooms. The window on the right has been blanked out, the other windows are modern, and until very recently there was no door here.
     
     
     

     
    I took many nerdy photos. Let me know if anyone wants the rest. My build has benefited greatly from photos shared by others, thanks again gents!
     
     

     
    I walked up the embankment. These are the Lambourne and Winchester bays (left and right) in their heyday. (Source: LVR website).
     
     

     
    The view today. Both bays gone. At least the biodiversity benefits!
     
     


    The old GWR spear railings still linger. Note nonconformist pattern top right. A replacement? Model that!
     
     


    I said goodbye with a coffee and cake from the café, still housed in the old 1910 refreshment rooms. One hundred and thirteen years of munching and slurping, right here.
     
     


    I then met up with mum. She turned 90 this year and I invited her on a trip to Cornwall. After visiting old friends Up North she joined me on the GWR to Penzance.
     
     


    Along the way we enjoyed the breathtaking views and glorious blue skies, enhanced by the spotlessly clean carriage windows.
     
     


    Then reached the fabled Penzance, bang on time.
     
     


    The next three days were spent exploring the delights of Cornwall, staying in some wonderful B&Bs.  Everyone knows how Land's End looks, so here's a shot of the fish & chips at Sullivan's, just across from Penzance station.
     
     

     
    Luckily mum enjoys a scenic train ride, so St Erth-St Ives was a must.
     
     

     
    The semaphores at St Erth were a complete surprise to me. I had no idea that they were still operational.
     
     


    Great stuff .
     
     

     
    The box at St Erth, built 1899.
     
     

     
    We also visited the Helston Railway. 
     
     

     
    I was intrigued by the forest environment at Prospidnick where the line starts, a lovely atmosphere. This is, I think, BR Mk1 suburban brake No. E43147.
     
     

     
    Hauling power was 0-6-0 No. 2000. 
     
     

     
    Class 127 coach No. 51616 at Truthall Halt. The line ends here, but extension to Helston is planned. As always, I’m full of admiration for the preservation movement.
     
     


    Changing the lamps for the return trip. I’ll end the tale here too. It was a great journey, though time was short. Isn't it always.
     
     
  7. Mikkel

    Midland Railway D299 Open

    By Mikkel,


    Wagons
    As Stephen has highlighted, the Midland Railway D299 Opens were built in such large numbers that they appeared in almost any pre-grouping goods yard at some point.
     
     

     
    So I dug out my Slater's kit for this diagram.
     
     

     
    The kit had some rather bare looking insides.
     
     

     
    I therefore scribed on some planking detail.
     
     

     
    For the rest of the build I followed Stephen's info, including removal of the number and build plates, as prototype photos show them positioned in another place.
     
     

     
    The built-up wagon.
     
     

     
    Weighted with the excellent Liquid Gravity from Deluxe models.
     
     


    In primer...
     
     

     
    ...and painted.  The MR transfer sheet I have is from Fox (edit: which has issues, see below). The sheet doesn’t provide for the number plates, so I found a photo of another MR wagon on the web, cropped out the numberplate and worksplate and photoshopped them to suit.
     
     

     
    As usual the camera exposes all the little detail issues. The door patch should only have 4 bolts, the 3-links should be blackened, and Stephen is not happy with the proportions of the "M" on the Fox transfer sheet. 
     
    Overall I'm content with the wagon though. Thanks to Stephen for the help on this build.
     
  8. Mikkel
    My 1854 class open cab Pannier Tank in ca. 1919 condition is now done. To recap, it’s a heavily modified Hornby 2721 body on a Bachmann 8750 chassis, using modified Finecast parts, Finney/Brassmasters fittings and various scratchbuilt items.  Here is a summary of the last part of the build (see this post for earlier steps).
     
     


    The bunker uses modified Finecast sides. Plated coal rails from wire and styrene. DIY fire iron hooks, and lamp irons from a Brassmasters etch.
     
     

     
    Cab windows were given a profile using circles of styrene cut on my Silhouette. 
     
     
     
     
    The cab roof on the Hornby 2721 body was retained but sanded down, including the strips along the sides which make the roof look thick and the cab too high. New slimmer raintrips were added, following the pattern seen on the prototype.

     

     
    The cab was pragmatically detailed with various bits from the spares box and springs nests from Brassmasters as used in the Finney 1854PT kit.
     
     

     
    Splasher bands cut from styrene were added to the front splashers, which are the only ones retained from the original Hornby 2721 body. 
     
     

     
    Steam injector from Alan Gibson, IIRC. Center and rear splashers are from an old Finecast kit.
     
     
     
    The chimney from Brassmasters was then fitted, as used in the ex-Finney 1854 PT kit. Safety valve cover and bunker only loose fitted at this point, hence the lean.
     
     

     
    The dome lubricator is also from Brassmasters.
     
     

     
    Alan Gibson buffers, with white styrene for the square bit on top. Sand boxes are off a Mainline Dean Goods, I think.
     
     

     
    The lamp irons are from this neat little Finney/Brassmasters etch.
     
     

     
    This shot illustrates the ungodly mix of RTR components, whitemetal parts, finescale fittings, and scratchbuilt bits and pieces.
     
     

     
    All grey primer from a rattle can. 
     
     

     
    Then various filling and sanding, followed by Archer’s rivets which I find bond better when fitted on primer. Micro-Sol was later used to “melt” away the decal paper.
     
     

     
    Next a base coat of matt black, to add depth to the top coats.
     
     

     
    Top coat and two coats of varnish. Cab windows glazed with 4.4 mm circles of 0.25 mm clear styrene. Flat base safety valve bonnet is from the old Mainly Trains range, happily still available from 51L. 
     
     

     
    Medium handrail knobs and wire from Eileen’s Emporium, which sadly had to close shop recently. We owe suppliers like them a lot.
     
     


    Coaling with diluted PVA and a drop of detergent. The rush is sensational!
     
     

     
    Kernow MRC do a nice etch of fire irons. They are the long variety, so I shortened them and stuck the shafts behind the business end.
     
     

     
    Photos tend to show fire irons fitted with the rings around the left hand hook, presumably for easy reach by the fireman. Couldn’t find a decent bucket in my spares box, does anyone know a source for buckets that are actually hollow? 
     
     

     
    Loco lamps are from Modelu. These are actually tail lamps, but they’re what I had for now. This is the 1918-36 headlamp code for a class K ordinary goods. Must include some lenses with the next order.
     
     

     
    The number plates were purpose-made from Narrow Planet/Light Railway Stores. They are very good.
     
     

     
    Footplate crew also from Modelu. Both were too tall to go in the cab, so the driver’s legs were shortened while the fireman has a new set of legs off an Andrew Stadden figure. You can’t see their legs behind the cab sides anyway.
     
     

     
    That’s about it. Screw couplings are on order from Wizard Models.
     
     

     
    I like my locos clean, but I suppose I ought to give this one a light weathering?
     
     


    No. 1899 is part of a scheme to expand my Edwardian timeframe to allow occasional 1919 workings on my Farthing layouts. Allows me to build more goods stock from other companies, since it’s post-pooling.
     
     

     
    The main work done. No doubt someone will release a brand new RTR version shortly (@RapidoCorbs& Co. maybe?). But I enjoyed the process.
     
     


    And so at last I have an open cab pannier, 42 years after the Hornby 1980 catalogue triggered the itch with their 2721 class. 
     
    Speaking of years, there's a new one looming. So I've dug out this old photo. Happy New Year!
     

     
     
  9. Mikkel
    Here’s an attempt to reenact the 1911 railway strike in OO. The strike was an important but sometimes overlooked event in the social history of Britain's railways, and involved some very unusual scenes. The cameos are based on contemporary photos, but transposed to my own Farthing layouts.
     
     
    1. The strike begins
     

     
    “The Great Unrest” was a period of labour unrest during the years 1911-1914. 
     
     

     
    The period saw more industrial disputes than any before it.

     

     
    During the years 1911-14 there were 4229 officially recorded strikes in Britain.
     
     

     
    This included Britain's first official national railway strike which took place over three dramatic days from August 17-19, 1911. 
     
     

     
    The strike arose from dissatisfaction among railway workers with the lack of progress in the so-called Conciliation Boards that were supposed to negotiate worker’s conditions. 
     
     

     
    In June 1911 railway workers in Liverpool joined dock workers and merchant sailors in the Liverpool Transport Strike, demanding shorter hours and better pay.
     
     

     Source: Ronramstew on Flickr.
     
    The strikes in Liverpool gradually gained broader support and spread to other towns. With some delay the railway unions decided to back the strikes and expand them. A formal national railway strike was declared on August 17.
     
     

     
    The unions sent telegrams to 2,000 railway centers across the country, urging all railway workers to abandon work and go on strike.
     
     

     
    According to sources this increased the number of workers on strike to approximately 150-200,000 of the 600,000 railway workers recorded at the time.
     
     

     
    Action was most intense on the railways that connected with the North, including the MR, LNWR, NER, GCR and GWR. On the southern railways, few workers got involved in the strike.
     
     
    2. Bearskins on the line
     

     
    The railway companies refused to accept the strike and met with the PM Asquith, who guaranteed that they would be able to continue railway operations.
     
     

     
    After a failed attempt to negotiate an arrangement with the unions, Home Secretary Churchill approved deployment of 58,000 troops around the country.
     
     

     
    The army’s brief was to secure running of the railways and avoid interference or sabotage by the strikers.
     
     

     
    Numerous photos from around the country show troops guarding stations, signal boxes, junctions and loco sheds.
     
     

     
    This scene was inspired by a photo in the 1911 edition of "The Sphere", showing troops guarding GWR facilities.
     
     

     
     Many of the deployed troops wore an unusual combination of field uniform and full-dress headgear.
     
     


    Perhaps an early spin doctor had been at work?
     
     

     
    Similar scenes were captured at e.g. Leicester, York and Clapham Junction.
     
     
     
    3. Crossing the picket lines
     

    Source: Sarah on Flickr
     
    The army was also employed to assist the police escort horse-drawn deliveries.
     
     

     
    Photos show horse-drawn wagons lined up in small convoys.
     
     

     
    The stable-men were all on strike, so no reins 😊. No, reins are just not practical on my layouts which are constantly set up and dismantled.
     
     

     
    With the protection from troops, some goods got through to their destination.
     
     

     
    Other cartage vehicles were stopped by striking workers. 
     
     

     
    Pictures show confrontations in the streets… 
     
     

     
    … as workers sought to halt deliveries and confront strike breakers.
     
     

     
    In some cases, horse-drawn wagons were overturned to stop their progress.
     
     

     
    The disturbances fuelled some sensationalist reporting in the media, but the strike also led to more fundamental debates about the salaries and rights of railway workers.
     
     
    4. Impact on passenger operations 
     

     
    Passenger operations were differently affected across the country. 
     
     

     
    In areas with little strike activity, services were maintained to some extent.
     
     

     
    Nevertheless, knock-on effects led to delays and cancellations in many parts of the system.
     
     


    In some areas most of the staff were on strike and trains came to a complete standstill. This scene was inspired by a photo from Manchester which shows passengers walking along the tracks, having left a deserted train and making their way into the station.
     
     


    The largely unstaffed stations must have been a strange experience.
     
     


    Without staff, what is a railway?
     
     
    5. A Siphon Special
     


    With so many men on strike, it became a challenge to secure sufficient stock for passenger services.
     
     


    Special measures were therefore required. This is an old K’s Siphon that I got off ebay. The doors were cut away…
     
     

     
    …and new ones made from laminated styrene.
     
     


    New doors in place…
     
     

     
    … and a few details added.
     
     

    This short video clip shows the roof fitted with magnets, thanks to Dave John for that idea.
     
     


    A Siphon Special.
     
     

     
    Perhaps you think I'm pulling your leg.
     
     


    Surely the glorious GWR wouldn't transport passengers...
     
     

     
    ... like this?
     
     

     
    But once again...
     
     
     

    Source: Embedded from Getty Images.
     
    ...reality beats fiction.
     
     
    6. Tragedy at Llanelli
     
    Despite the lighter moments this was serious business, and at Llanelli it went all wrong.
     

     
    In a confrontation between the army and strikers on August 19, two civilians were shot and another four lost their lives in the explosion of a gunpowder van. There's an account of the sad events here.
     
     

    Source: Embedded from Getty Images.
     
    I didn’t feel like modelling the tragedy itself, so decided to portray a scene from the following day when locals came out to inspect the damaged stock, as seen above.
     
     


    Several GWR clerestory coaches were damaged in the clashes between army and strikers. Photos show them in 1908-1912 all-brown, so I painted my Slater’s C10 in a simplified version of that livery.
     
     

     
    Some distressed glazing was then added.
     
     

     
    Pictures show police, staff and curious locals inspecting the coaches.
     
     

     
    I wonder what they were thinking?
     
     

     
    There’s certainly a sombre mood in some of the photos…
     
     


    …the shattered glazing a reminder…
     
     


    …that beneath the elegance of the Edwardian era…
     
     

     
    …lay great tensions...
     
     

     
    ... and deep divisions.

    ***
     
    By then the strike was over. On August 19 the government mediated a deal between the railway companies and the unions.   The agreement addessed few of the workers' immediate concerns, and some workers felt betrayed by it. The deal did however strengthen the role of the railway unions as legitimate players in negotiating worker's conditions. The unions considered it a win and called off the strike. The years that followed saw more railway strikes, some of them more succesful. But the 1911 strike was the first, and it showed that something was changing.
     
    ***
     
    PS: Please note that this is just a rough account of the strike, and I am not a historian. For further online reading see e.g. David Turner's write-up about the strike, the Brighton ASLEF page, and the Llannelli Rail Strike website. 
     
     
  10. Mikkel
    I’ve been painting 4mm figures. Here are some photos and platform scenes.
     

     
    I wanted to find a better way of holding figures during painting. Above is the good old bluetack solution, straightforward and good for spraying, but it doesn’t hold the figures very firmly during brush painting.
     
     

     
    Another well-known solution is wire in the legs. Useful for mounting on the layout, but not always an option, I find. Some 4mm shoes won’t take a drill well, and on 3D printed figures the material can break.
     
     

     
    So I’ve been experimenting. I made some wooden blocks and fixed double-sided heavy-duty “Nano” mounting tape to them. This works reasonably well. The tape is elastic, though, so if left overnight a heavy figure may keel over.
     
     

     
    So I'm now trying out “Tesa Powerbond Ultra Strong” mounting tape, which seems good so far. The tape does need replacing after 1-2 figures, and loses strength if you spill water on it. 
     
     


    Anyway, back to the figures, starting with some Andrew Stadden ones. This is porter N. Pipkin, painted a while ago. Despite a ligelong struggle, he never did manage to grow a moustache. 
     
     

     
    This is the young Maria Lobbs. She's a bit teared up, a common sight on railway platforms. All those difficult goodbyes.
     
     

     
    I sometimes wonder if I should use more shading on the figures. The dilemma is that it looks good from a distance but can appear rather stark in close-up.
     
     

     
    I think the big plus of hand sculpted figures is that they tend to have a lot of character. It can be overdone, but the Andrew Stadden range gets it just right, in my view.
     
     
     
    An attempt at an early GWR bus driver, made using an Andrew Stadden head transposed to a body from the spares box (unknown origin). Photos show a variety of greatcoats in use by period drivers, this one resembles a 1909 example in the Steam collection, second picture down here.
     
     

     
    On to the Modelu range. I’ve done a few of Alan’s railway staff in the past, but thought I’d have a go with some Edwardian passengers.
     
     

     
    Free at last! If I'm not mistaken, recent Modelu figures have more supports than earlier ones. They come off easily enough.
     
     

     
     I’ve only just discovered that the Modelu figures don’t need priming. I was sceptical about that, but Vallejo acrylics go on well and in fact stick better than on my primed metal figures. 

     


    Most figures in the hand sculpted ranges have slightly oversize heads and facial features. By contrast, laser scanned faces such as the Modelu ones are quite subtle. Prototypical, but harder to paint. Until recently I just left them blank, but on this batch I’ve tried to lightly indicate eyes and lips/moustaches.
     
     


    The black band on the boaters was made from narrow masking tape. Gives a nice clean edge.
     
     


    I tend to go with sandy and brownish shades on my figures, to blend in with the overall colour scheme on my layouts.
     
     

     
    But I’ve been advised not to overdo colour coordination, so here is – somewhat grudgingly - a splash of green.
     
     

     
    In close-ups the printing pattern does show on some Modelu figures. But this is many times the actual size, and you certainly can’t see it with the naked eye.

     


    Mrs Sanders is billed as an Edwardian figure but the bustle and skirt seem distinctly Victorian. The bustle went in and out of fashion during the 1860s-1880s but was largely gone by the 1890s. See also the useful Vintage Dancer website.
     
     

    Henley on Thames, colourized. No date. Source: Getty Images, embedding permitted. 

    La belle epoque - for some at least! There's still some way to go before the platforms at Farthing can be filled with crowds like these at Henley on Thames, but below are some test shots from the bay platform. 
     
     


    Mrs Martin and Mrs Hunter lament the moral decay among the working class.
     
     

      
    Why, only this morning - says Mrs Hunter, hand firmly on hip – my purse was stolen in town!
     
     

     
    Mrs Martin expresses her sympathy, omitting to mention that the very same purse is hidden under her corset.
     
     

     
    Meanwhile, Porter N. Pipkin is on thin ice.
     
     

     
    Maria does not seem to believe his excuse for neglecting her recently. Perhaps the bit about cheese rolling was a fib too far?
     
     


    Further along the platform, two writers from the Railway Magazine are weighing their options.
     
     
     
    The brief was to do an in-depth piece on Great Western wagon liveries. But it’s a rather hot day to be trudging around a goods yard.
     
     

     
    Perhaps field research isn’t really necessary. Better to have a good lunch at the Stag’s Head, then head back to London for a spot of creative writing. After all, who really cares about wagon liveries?
     
     

     
    Meanwhile Mrs Toodle and Miss Toppit discuss the upcoming wedding of the Browns.
     
     
     
     
    They agree it will be a wonderful event and it is such a lovely young couple.
     
     
     
     
    Secretly they hope it will end in scandal and despair.
     
     
     
     
    At this point Mrs Sanders appears in her hopelessly outdated Victorian dress, and everyone studiously ignores her. Such old-world eccentricity really won't do. We are the Edwardians, modern, efficient and sophisticated!
     
     
  11. Mikkel

    Slater's GWR dia. C10 clerestory coach

    By Mikkel,


    Coaches & Browns
    I’m building a Slaters kit for a  GWR bogie clerestory third to diagram C10. The coach is intended for a motley Edwardian stopping train consisting of a variety of carriage styles, as was common on the GWR in the 1900s. But first it will be used in a re-enactment of the 1911 railway strike, and is therefore in the 1908-1912 all brown livery (as yet un-lined). 
     
     

     
    This post summarizes the build.  It's a long post but I'm told the kits are due back on the market so perhaps this can help give others an impression of what's involved and avoid my mistakes!
     
     

     
    What you get. Lots of bits. Wheels weren’t included.
     
     


    The plastic components are crisp and detailed. I did spend some time cleaning away flash. The larger bits of flash are minimal and not a problem, but there are thin strips of flash along the upper edges of the windows which require care.
     
     


    I used Limonene (two coats) to bond the sides, which worked well enough. The Magnetic Clamps are from Smart Models.
     
     

     
    The partitions were then fitted, followed by the roof. I opened out the notches in the roof for the partitions, so that the roof could be taken on and off during the build.
     
     

     
    The seats are quickly made and fit nicely in the compartments - not always the case with kit seats!
     
     

     
    The clerestory structure was quickly built up. The ends and clerestory parts are “handed” with different details at each end.
     
     

     
    The underframe, solebars and headstocks were then fitted. Etched brass snuck in via the "racking plate" , which was glued in place.
     
     

     
    I then turned to the bogies. 
     
     

     
    They fold up nicely.
     
     

     
    One mistake was to put off strengthening the  stepboard supports with solder. They are very fragile and will soon break off otherwise. The photo shows the ones I managed to rescue, the rest were replaced with wire  later on.
     
     

     
    The inside frame and rocking mechanism was then made.
     
     

     
    The principle of the kits - at least those produced until now - is that the wheels run in the inside frame using "inside bearings". Brass wire hold the wheels in place and allow sprung movement. This design has drawn critical comments from people who struggled to get good running. I understand that it will be changed when the kits are re-released.
     
     

     
    In any case, I lacked the correct axles so decided to go for an alternative approach, using Alan Gibson pinpoint axles in ordinary bearings. Thanks to @Darwinian for the idea.
     
     

     
    For this approach to work, the pinpoint bearings must fit perfectly into the recessed aperture around the hole in the bogie sides - seen here - and must be of the right depth. Otherwise the sides will splay. 
     
     

     
    Using the right bearings was therefore critical. I tried various types including 2mm Top Hat bearings but these would not accommodate the axles within the bogie frames. Eventually I used these waisted bearings plundered from old Coopercraft kits, as seen above. 
     
     

     
    The ends of the bearings did need some filing so that the axleboxes would fit over them. Filing the inside of the axleboxes also helped.
     
     

     
    With this simplified approach the inner frame was not strictly required, but I decided to fit it anyway to add strength and hold the rocking mechanism.
     
     

     
     Are you still awake? Captions welcome.
     
     

     
    The bogie interiors were gradually becoming inaccessible so I primed them and painted the Mansell wheels. The latter are brownish red as a loose indication of varnished redwood (see good discussion on Western Thunder).
     
     

     
    A silly mistake cost me dearly. I forgot to fit brake shoes until the wheels were firmly in place. Retrofitting the 16 shoes was a hellish task. As a result the various brake pull yokes didn’t fit properly, so much of that is just indicated with brass wire.
     
     

     
    Once back on track, the cross stays and scroll irons were fitted. There are useful close-ups and drawings of Dean bogies in Russell's GWR Coaches Part 1 p. 93-95.
     
     
     

     
    The scroll irons were then cut to allow the bogie to rotate. Not exactly neat cuts, they were filed later. I do need a proper flush cutter.
     
     

     
    In order for the bogies to rotate, the frames have to be modified at each end.
     
     

     
    I hope I got the position of the gas cylinders right. I peered into the murky darkness of prototype photos and Didcot's C10, which suggests it's more or less OK.
     
     

     
    Next the underframe details were fitted.
     
     

     
    I shortened the queen posts, as I felt the truss rods ended up too low if fitted as intended. Prototype photos like this one (and the C10 at Didcot) shows them higher up and fairly discrete. Unless truss rods changed over the years?
     
     

     
    I didn't fancy "trapping" the bogies with the brake pull rods, so just fitted this single rod held by (unprototypical) vertical mounts. The bogie can be slid out underneath it. Bit of a bodge but at least something is there for those rare glimpses.
     
     

     
    The main buffer components. There’s an option of springing them, though I didn’t use it. The instructions state that the buffers "consisted of a curved oval steel plate bolted onto a round buffer head". 
     
     

     
    The outer plate needs to be lightly curved and then fitted to the buffer heads. I didn't make a good job of this, it looks a bit odd. If I do another one I'll see if ready-made buffers can be obtained instead.
     
     

     
    Next the stepboard hangers went on. This required patience as the hangers, solebars and stepboards all need modification for the parts to fit, as also indicated in the instructions.
     
     

     
    The material used for the stepboards somehow managed to be both bendy and brittle at the time, though note that this is a secondhand kit of some age. My adjustable multi-purpose jig a.k.a. “The Piano” saved the day.
     
     

     
    The lower stepboards were then fitted. I later found that the bogie stepboards had to be shortened approx. 1,5 mm to clear the central stepboard. The hangers for the latter also need modification or they will stick out oddly.
     

     
    It’s striking what a difference stepboards make to the appearance of a coach.
     
     

     
    From there on it was plain sailing. The roof was detailed using the as lamp tops in the kit, and 0.3mm (0.010") brass wire.
     
     

     
    Steps fitted at one end, and putty to fill out the corner joins. In 1911 the GWR experimented with Bluetack on buffers in response to complaints about rough riding. The idea was abandoned when a Slip coach destined for Weymouth was found still attached at Penzance.
     
     

     
    After priming, the interior was painted. I decided to leave the 48 picture frames untouched. Chris: I did try painting them as you suggested but soon realized that it should have been done while the partitions were still on the sprue.
     
     

     
    The coach sides were brush-painted with my normal method of multiple coats (5 in this case) of much thinned Vallejo acrylics, using a broad flat brush. In the photo a fresh coat is being applied.
     
     

     
    The coach was painted all-brown as per the 1908-1912 livery. The photos I have show light to dark grey rooves (probably the usual darkening) with no brown beneath the rainstrips.
     
     

     
    Commode- and door handles were then added, followed by lettering and insignia. The 1908 livery had the garter in the center, and crests either side with "GWR" above. The position of the crests at the outer ends makes for an unbalanced look and takes some getting used to.
     
     

     
    But that's how it appears in this crop of a 1911 photo of a scene I'll be modelling.  Perhaps this extreme position of the crests was in fact a particular feature of the little explored 1908-1912 livery - brakes excepted? Photos of bogie coaches in the all brown livery are rare, but there is a Toplight in Russell 's GWR coaches which also has the crests just before the last passenger door at each end. The photo in Slinn's Great Western Way has the crests further in, but on inspection that coach has guard doors at each end, and so there would not have been room to put the crests further out on that particular coach (crests were kept clear of doors). Of course in 1912 the GWR did move the crests further in, with just a single "GWR" placed above the garter.
     
     

     
    The 1908 livery saw the introduction of black ends. The hand rails are 0.3 mm wire from Wizard Models, which I found easier to shape than the wire in the kit. Vaccuum pipes and couplings to follow.
     

     
    So far I have never lined my Edwardian coaches, a pragmatic decision  in order to get things built and running. In this case it does add to the austere appearance though. Perhaps it's time to try out an Easi-Liner pen.
     
    Anyway, that's the current state of play. My original plan was to use this livery for a photo shoot of selected 1911 scenes and then repaint it in pre-1906 livery with cream panels. However I must admit that the sombre look is growing on me. Something to ponder.
     
     
  12. Mikkel

    Fifth bite: The station building

    By Mikkel,


    Layout design
    I now have four small layouts in the Farthing series, each of which can be operated on my desk or the dining table. That should satisfy my daily operating needs for a while, allowing me to take on Farthing’s main station building and platforms.
     
     

     
    For this I’m returning to the Newbury theme. When Newbury station was rebuilt during 1908-1910 four lines were laid, with loop lines along the Up and Down platforms and through lines in the center.
     
     

     
    This resulted in the above arrangement. Source: Britain from Above.
     
     

     
    As we already know, Farthing’s history and layout as a junction station was very similar to Newbury.  So I’ve grabbed this part of the Newbury trackplan and adapted it for Farthing. The two remaining bays are left out for now, but may follow later in one form or another.
     
     

     
    As usual it’s very simple. We live in a small flat and I don’t have a layout room, so I’ll join up four modules on the dining table. The modules are stored in an attic room so need to be short and narrow. We have two light work-desks which can be arranged at each end for 150 cm cassettes to slide on. It won’t be practical for my daily running sessions, this is for special occasions.
     
     

    Though limited, the plan is not completely without operational scope, as listed here. The run isn’t that long but I'd rather do something than nothing. If circumstances allow, future modules can add more length. 
     
     
     
     
    One module – the Branch Bay – was the first of the Farthing layouts and so is already done. It just needs the fascia removed, allowing another module to be fitted in front. I’ll still be able to operate it separately during my daily sessions.
     

     
    I’ve now begun the second module. It will be a scenic board, featuring Farthing’s main station building, viewable from both sides. As simple as it gets.
     
     

     
    Except that I have to build this. The station building will be a model of the main Up side building at Newbury.
     
     


    It is of course still there and can be seen in Google Streetview. Handy when you live across the North Sea during a pandemic.
     
     
     
     
    The architectural style at Newbury was not unique. This is Westbury, where the style appears to have originated when Westbury station was rebuilt in 1899 – indeed Adrian Vaughan calls it the “Westbury style” in his book on GWR architecture. Source: Wikipedia Commons.
     
     

     
    A distinctive feature of the style was the shape and decoration of the limestone lintels above rounded windows.
     
     

     
    The style was also employed on some other GWR stations in the early 1900s, although without the gables. There were several on the GWR/GCR New Line. This is Bicester North, built 1910. Source: Chiltern Railways on Pinterest.

     

     
    I spotted a simpler variant in photos of Tyseley, built 1906. Source: Wikipedia Commons.

     


    Back at Newbury, the Upside building is a long structure, as seen here on Google Earth using the handy measuring tool. In 4mm scale it comes out at just under 84 cms. The sensible approach would be to do a compressed version. But I need a challenge, so will do the whole thing.
     

      
    Here’s a GWR outline drawing of Newbury, with only the wording changed to match Farthing. It’s longer than some of my existing layouts! I’ll build the structure in three main parts, joined by magnets. I anticipate compromises along the way, so expect pragmatism.

     


    Work has begun. I’m tracing the GWR outline drawing in Inkscape in preparation for cutting out brick sheets on my Silhouette Cutter. The GWR drawing is rather rough, but OK for my purposes and I have historical and contemporary photos to work from.
     
     

     
    I'm still to decide whether I'll also build the footbridge, seen above. A big task, but tempting. Especially because it’s gone now, removed in 2018 for OLE installation. Slowly, the old world disappears. But modellers are sorcerers, we can bring things back.
     
  13. Mikkel

    GWR horse-drawn station bus

    By Mikkel,


    Horse-drawn
    I’ve built a GWR horse-drawn station bus using a modified and detailed P&D Marsh kit.
     
     
     
    A colourized postcard showing omnibuses in the station forecourt at Minehead. A perusal of period photos suggests that the outside seating wasn’t necessarily the last choice option – on sunny days at least!
     
     
     

     
    The forecourt at Teignmouth. Lettering on the door shows the fare and “A. Harvey (?), Proprietor”. Many horse-drawn station bus services were operated by individual entrepreneurs, nearby fashionable hotels, or local agents for the railway companies. Actual GWR-owned station buses certainly existed but were, I suspect, a minority.
     
     
     

     
    Old and new at Helston. The GWR’s first motor-driven road service was introduced at Helston in 1903, signalling the beginning of the end for horsedrawn omnibuses. The horse-drawn bus on the right served a local hotel.
     
     
     
     
     
    Phillip Kelley’s two volumes on GWR road vehicles feature a small but useful selection of photo and drawings of GWR horsedrawn buses. Online, a couple of rather interesting GWR omnibuses can be found here (scroll down). An agent-operated GWR service can be seen on the Fairford pages here. For non-GWR omnibuses, Gail Thornton’s website is interesting.
     
     
     

     
    The P&D Marsh kit is a fairly simple affair but does represent an actual prototype built by the GWR in 1894. There's a Swindon drawing of it in Kelley’s “Great Western Road Vehicles Appendix”. Towards the end of the build I realised that I had overlooked an actual photo of the vehicle in Kelley’s main volume (“Great Western Road Vehicles” p.29). 
     
     
     

     
    Assembly of the body leaves you with somewhat unsightly corners, as Mike also commented in his build back in 2013.
     
     
     

     
    Repeated applications of filler and sanding helped, followed by primer.
     
     
     

     
    The basic components result in a reasonable overall representation of the original vehicle. 
     
     

     
     
    Bringing it to this stage was a fairly quick exercise, but I decided to add some detailing.
     
     
     
     
     
    First step was some simple seating and glazing. The interior may or may not have been more lavish, but with the roof on very little is visible. 
     
     
     

     
    The kit’s roof casting is rather thick and does not reflect the pattern on the prototype. A replacement was made by laminating two layers of thin styrene, the top layer being a grid pattern drawn up in Inkscape and printed on my Silhouette.
     
     
     

     
    This was fixed with superglue, with temporary holes to allow the fumes to escape so they don’t frost the glazing.
     
     
     

     
    Luggage rails were fitted using 0.5 mm straight brass wire. Later I removed the front rail, as I discovered that the prototype didn’t have it. Same thing can be seen on some other omnibuses. Forward-sliding luggage not a problem on slow-breaking vehicles?
     
     
     
     
     
    The drawing and photo show what initially looks like a ladder at the rear. Closer inspection shows it to be three vertical rails with no apparent rungs. My best guess is that they are guard-/guiderails for raising and lowering heavy luggage to and from the roof without damaging the sides. Unless anyone knows better? Anyway, I fitted them using more brass wire. Also seen is the rear passenger step. The one provided in the kit is rather crude and doesn't match the drawing, so I made a simple replacement. The step could be folded down and away for stowage during transport.
     
     

     
     
    Discovery of the prototype photo led to some unpleasant surprises. I had overlooked horisontal bolections along the sides and ends, so they were retrofitted using thin wire. There are also what looks like ventilation louvres above the windows (or rainstrips?), these were indicated using thin strips of styrene. 
     
     

     
    I fashioned a pair of coach lamps using old loco lamps from the scrap box, fitted with bits from my tin of watchmakers’ spares. No particular prototype, just a nod to a certain type seen in some photos.
     
     
     

     
    Lettering and insignia will have to wait. The prototype photo shows the vehicle in factory finish in 1894, with sans-serif “Great Western Railway” below the windows in quite a small font size (smaller than on goods cartage vehicles), and a simplified garter behind the wheels. My printer can’t do such small lettering to a satisfying standard, so I’ll leave it unlettered until I find one that can.
     
     
     

     
    The bus will be parked in the station forecourt at Farthing, with passengers outside. So I decided to add some luggage. The prototype photo shows leather straps (or similar) fitted to the luggage rails, so I painted some thin masking tape to imitate this. 
     
     
     

     
    I'm not sure about the principles for how luggage was packed on omnibus rooves. Photos suggest pragmatic solutions.
     
     
     

     
    I replaced the horse in the kit. I first painted up the mare on the left, but decided it was more of a goods type. So an exchange was made with the pretentious type on the right. Both are from Dart Castings.
     
     
     

     
    I normally go with matt varnish for my horse-drawn vehicles, but couldn't resist a satin finish in this case. 
     
     
     

     
    I'm pondering my choice of driver. Current offerings aren't that good, so will probably modify a seated passenger. No reins, too impractical with my current layout arrangements.
     
     
     
     
    So that's yet another horse-drawn vehicle for Farthing. Good thing I've got a big stable block! There are plans afoot for an early motor bus, but that's another story.
     
     
  14. Mikkel
    I’m building an 1854 Pannier Tank for Farthing in ca. 1919 condition, using a modified Hornby 2721 body, a Bachmann 57xx chassis and various parts from SEF and Brassmasters. Pure it is not. The project has been described on occasion in my workbench thread, but in a fragmented manner. This post summarizes progress to date. Prepare for many close-ups of green plastic 🙂
     
    Background
     

     
    It's a bit of a nostalgia project. I wanted to do something with the old Hornby 2721,  a model I've had a liking for since first seeing it in the magical Hornby 1980 catalogue at the tender age of 11. Note the "X", it was high on my wish list back then. When I finally got one several decades later the running was a disappointment. So it went to sleep in The Big Box of Lost Souls, until I decided to bring it back to life.
     
     

     
    The original plan was to make a backdated 2721, but along the way I decided to do the outwardly very similar 1854 PT class instead. The components I'm using match an 1854 PT a bit better, including the plain Bachmann conrods and the absence of visible springs behind the Hornby splashers (a feature of the 2721s).  The 1854s were also a bit more widely dispersed during the period in question. Above, I have plotted the 1921 allocations of the 1854s and 2721s into Google Maps. See details below this post.
     
    So the goal is a pragmatic 1854 PT in ca. 1919 condition, a period I have a growing interest in. Ironically I have yet to find a 1919 photo of an 1854 PT. Instead I'm extrapolating from early 1920s photos (including a couple on the gwr.org.uk pannier page), and drawings in the Finney/Brassmasters kit instructions and Russell's "Pictorial Record of Great Western Engines" Vol 1. Thanks to Brassmasters for making their instructions freely available, I try to repay by purchasing fittings from them. The RCTS "Locomotives of the GWR" part 5 is a key reference. Jim's book "An Introduction to Great Western Locomotive Development" has also been useful.
     
     
    Chassis and body
     

     
    I’m using a Bachmann 57xx/8750 chassis for the project.  Various chassis versions exist, including 32-200 (left) and 31-900 (right). I’m using the former, which is shorter and lower. 
     
     

     
    Closer look at the chassis. The weight block has been removed to test the fit. Later it went back on.
     
     

     
    The Bachmann chassis and Hornby body. There are various well-known issues with the Hornby 2721. Hornby used a Jinty chassis, and so the splashers don’t line up with the more correctly dimensioned Bachmann chassis. The frames and bunker are also too long, and there’s no daylight under the boiler. The chimney is appealing, but wrong shape.
     
     

     
    I disassembled the body and was surprised to see that the tank/boiler top is a separate component, well disguised under the handrail.
     
     
    Butchery
     

     
    The first job was to get some light under the boiler/panniers. I used a scalpel, scoring repeatedly along the edges of the moulded sides with a used blade, then eventually cutting through with the tip of a sharp new blade.
     
     

     
    And there was light. 
     
     

     
    Then the interior was cut, carved and hacked about until the chassis was a good fit along the sides and ends. The photo is early on in the process, a good deal of material was removed.
     
     

     
    The chassis and modified body. There’s ample room for the Bachmann weight block, so that was re-fitted.
     
     
     

    The backhead was cut away to allow room for the gears. The motor does protrude a bit into the cab, but will disappear behind a new backhead.
     
     

     
    From the side.
     
     
    Footplate
     

     
    The Hornby body is too long for both an 1854 and a 2721. This is in fact the 2721 drawing from when that was the aim, but the principle is the same for the 1854.
     
     

     
    So I shortened the footplate by about 2,5 mm at each end, doing cut-and-shut.
     
     
    Splashers
     

     
    The center splashers, being out of line, were then attacked along with the toolbox.
     
     

     
    The incorrectly positioned toolboxes, half-relief injectors, and very low sandboxes were also chopped off.
     
     

     
    I considered scratch building the replacement splashers as per my Dean Goods rebuild, but wasn’t in the mood. So I dug out a broken old Finecast 1854 that came with an ebay job lot. 
     
     


    The Finecast splashers were cut off, cleaned up and fitted to the Hornby footplate.  There are no rear splashers on the Hornby body, so these were also fitted. Will fit bands to the front splasher later.
     
     
    Bunker and Backhead
     


     For the bunker I again turned to the old Finecast 1854…
     
     

     
     …and cleaned up the parts as best I could.
     
     


     The 1854s and 2721s had the same frame and cab width, so in theory the 1854 bunker should be a direct match, but it was too narrow. I thought the Hornby body must be wrong, but checking the measurements again showed that the Finecast bunker isn’t as wide as it should be. Food for thought!
     


    Anyway, I rebuilt the bunker with styrene panels. Later, plated coal rails were fitted. The original Hornby weight block was filed to suit. Along with the weight block on the Bachmann chassis, the loco now runs quite nicely.
     


    The worm and gears were concealed using an old Bachmann backhead, moved slightly back and with a raised section of cab floor beneath it. I’ve done this before, once the crew are fitted I don't notice it.
     
     
    Beneath the tanks
     


    The Hornby balance pipe is a blob one each side of the motor block, so I made some new blobs.
     
     

     
    New firebox sides and rear tank supports (adapted to allow room for the injectors) were also made. Drawings of 1854 and 2721 PTs show the balance pipe fitted just behind the front splasher, but photos suggest that they were soon relocated to a position nearer the center of the tanks. So that’s what I have done.
     
     

     
    Removal of the “skirts” on the Hornby body exposes the Bachmann motor and lets too much light in. Strips of brass sheet were curved, painted and fitted each side to hide the motor.  Testing for shorts showed no problems.
     
     
    Fittings
     


    The Hornby tank top isn’t that bad, but the chimney (odd shape), tank fillers (too small) and grab rails (moulded lump) had to go. I'm wondering what the small pipes/cables running along the top are for, and when they were fitted.
     
     
     

    The chimney was sawn off, and the tank fillers removed (vertical slices in both directions, followed by a parallel cut along the bottom). The bluetack is for protecting details.
     
     


    Finney/Brassmasters chimney from the 1854/2721 kit, the rest is from Alan Gibson. 
     
     

     
    Dry fit of the Finney chimney and tank fillers. The safety valve cover is so far an RTR item, can’t seem to find the appropriate shape in brass. I'm confused about the chimney position, forward or center on smokebox? I'm aiming for a pre-superheated version, but despite good photos on gwr.org.uk, I can't work out what it implies in my case.
     
     

     
    Tank vents from bits of filed styrene, seen here with the Alan Gibson tank fillers.
     
     
    Smokebox
     

     
    The front also needed work. As it comes, the Hornby body has a Churchward pressed steel front. I rather like it.
     
     

     
    But pre-1920 tank smokebox fronts tended to be plain, so it was all sanded away. Difficult, and it shows. A ring was added to the smokebox door, not quite the dished look but better than nothing. Alan Gibson door darts fitted, and new steps from scrap bits of brass.
     
     
    Tank and cab sides
     

     
    Pannier tanks fitted before ca. 1917 were flush-riveted. After that they were snap head rivetted (1917-1924) and then had welded seams (after 1924).  I decided that my loco was fitted with panniers before 1917, and therefore sanded away the Hornby rivets. That took the shine off her!
     
     

     
    The lower cabsides are too narrow on the Hornby body, so these have been extended. This photo also shows the plated coal rails on the bunker (which is still loose).
     


    After a hiatus the project is now on the move again. I'm making a new cab roof and have started fitting details. More on that later. Thanks to all who helped with info and advice. 
     
    For part 2 see: 
     
  15. Mikkel

    A click-on scenic extension

    By Mikkel,


    Scenery
    I’ve made a detachable scenic extension for The Stables, using magnets. With this, the layout is more or less complete.
     
     

     
    The extension module was knocked up from 10 mm foamboard. The aim was to portray a tree-lined street at the back of the layout. It had to be detachable so as to facilitate storage in our small flat.
     
     

     
    The pavements were made in my usual way, flagstones lined out in pencil and later scribed with a round-nosed  awl.
     
     

     
    A black wash for weathering. Afterwards I stood the strips on the side to avoid unsightly puddles forming. 
     
     

     
    For the road itself I used a base of thin plasticard, curved to emulate the camber and with packing along the centerline (crown) for support. The top layer is painted sanding paper (grain 120), dusted with weathering pigments when dry.
     
     

     
    Vacuum formed retaining walls from Southeastern Finecast. I’ve used these on all four Farthing layouts, as a visual leitmotif. The brick detail is variable but you get quick results and for me they work OK at the back. 
     
     

     
    The trees were made using a combo of techniques, as described in an earlier post. 
     
     

     
    I made the trees a push fit, as I may want to replace them later. I find that masking tape works well as a way to adjust thickness on larger inserts. 
     
     

     
    GWR standard spear fencing from Ratio.
     
     
     
    As as aside, this 8 second video shows the fence at the front of the layout fitted with magnets. It allows easy track cleaning, photography and storage.
     
     

     
    These are the little critters, with a toothpick for size. They can hold 130 grams each. Thanks to Dave for introducing me to the weird and wonderful world of magnets!
     

    Anyway, back to the scenic extension. I found some posters from the 1901-1903 period, and scaled them down. Houdini toured Britain in 1903.
     
     

     
    In retrospect, I wonder if the neat Edwardians stuck posters directly to walls. Or were they exclusively mounted on backboards and hoardings?
     
     

     
    So that was the scenic part of the job, a sort of "3D backscene". In principle, the same module could be used on different layouts. In order to attach it to the main layout, I experimented with magnets again. 
     
     

     
    I first tried these neodymium magnets, capable of holding 2 kgs each, but they were too powerful. I could hardly get them apart and was worried that they would mess with my loco- and point motors (or is that not an issue?). 
     
     

     
    Instead I opted for some less powerful S&W uncoupling magnets. Cheaper magnets of the same strength can no doubt be sourced, but I happened to have a surplus and knew that these were safe for my motors. 
     
     

     
    I also fitted alignment dowels in order to reduce the downward pull of the module.  
     
     

     
    After experiments, I found that a mix of  PVA and ultra-fine Polyfilla held the magnets and dowels surprisingly well in the foamboard that I use.
     
     

     
    The extension then simply clicks on to the layout.
     
     
     
     
    Another short video clip, showing the extension being clicked on.
     
     

     
    The extension sits tight and “floats” with no supports. Obviosuly, that works because the module is narrow and light (650 grams) and is used at the rear of my desk where no one can lean on it. Actual layout modules would need supporting legs.
     
     

     
    Layout and two-level traverser on my desk. Further layout modules are being planned, and I'm thinking magnets can be a way to join them.
     
    So "The Stables" is now more or less complete.  To celebrate, here's a selection of photos. A little slice of Farthing in a Copenhagen flat 
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     
     

     
     
     

     
     

     
  16. Mikkel

    Powsides/Slaters Private Owner wagons

    By Mikkel,


    Wagons
    I wanted some Private Owners for Farthing, so have built a couple of Powsides kits, i.e. painted and pre-lettered Slaters kits. I opted for two Gloucester designs to RCH 1887 specifications, one a 5-plank side-door wagon, the other a 7-plank side- and end-door job. 
     
     

     
    I like the overall appearance, although TBH the small lettering isn’t quite up to current standards. Perhaps I was unlucky, they look fine on the website.
     
     

     
    The kits have blank interior sides, so the moulding pips were filed away and planking was indicated with a scriber.
     
     


    The instructions recommend joining all sides first, then mounting the floor inside. I struggled a bit with this, the floor wasn’t a perfect fit and the sides were lightly curved. Some dismantling and remedial work ensued, but I got there in the end.
     
     


    I used waisted pin-point bearings from MJT. Split spoke wheels on one wagon, and plain spokes for the other one because I ran out. Did some of these wagons eventually receive plain spoke wheels? Otherwise I’ll swop the erroneous set later.
     
     


    Some of the small lettering was a bit damaged or missing as the kits came. I touched it up as best I could. Some bits I simply painted over. I’d rather have absent lettering than odd lettering.
     
     


    The built-up wagons. 
     
     


    Having admired Dave’s lovely builds of the 7mm versions of these kits, I decided to indicate the interior ironwork as he has done. For this I simply used strips of Evergreen (painted darker after this shot).
     
     


    Good interior photos of these wagons are rare, so drawing on discussion by Stephen and other helpful RMwebbers I drew up the above sketch to guide my detailing of the interior. Please note that this is my own rough and ready rendering. There are various unknowns and no one has “signed off” on this sketch. Anyone interested should consult Stephen’s drawing and info here.
     
     


    Interior ironwork in place. The kit does include a hinge for the end door. On some wagon types this was positioned above the top plank, but in this case I fitted it just behind the top plank, based on this discussion.
     
     

     

    Archer’s rivet transfers at the fixed ends.
     
     
     

    Stephen pointed out the “big nuts” that appear on the ends of many Gloucester wagons, extending from the diagonal irons inside. Looking at photos they seem to have been present on both 5-, 6- and 7-planks as seen here left to right (obviously only at fixed ends). 
     
     

     
    The nuts don’t feature in the kit, so I added them. On the 7-planker I drilled holes and stuck in bits of brass. This proved tricky as it’s just by the corner joins, so on the 5-planker I Mek-Pak’ed on bits of plastic rod instead, as seen above.
     
     

     
    As usual: Liquid Gravity and 3mm Sprat & Winkles. I'm always amazed how much difference weight makes to the "feel" of a wagon. The couplings too: Ugly they may be, but they turn it into a working vehicle.
     
     


    Weathering the interior with pigments. The “Sinai Dust” seen here is courtesy of the late Mick Bonwick. Thank you, Mick.
     
     

     
    The Ayres wagon. Phil Parker uses a fibre glass brush to fade the lettering on printed RTR wagons. But these are transfers, so would tear (I did try).  Instead I lightly dry-brushed base colour over the lettering. Helps a bit, but not quite as effective. 
     
     

     
    C&G Ayres still exist as a well-known Reading removal company and former GWR cartage agent. This (very) close crop shows one of their removal containers at Reading ca. 1905. 
     
     

     
    But a search of the British Newspaper Archive showed that C&G Ayres were also at one time coal traders [Source: Reading Mercury Oxford Gazette March 9, 1918]. So I need to decide whether to designate the Ayres wagon for coal or furniture. I wonder if this explains the difference between the red Powsides livery and the green wagon livery that I normally associate the company with.
     
     
     

     
    The Weedon wagon. You can just make out the nuts on the ends, but they aren't really noticeable. The effort would arguably have been better spent detailing the brake gear!
     
     

    I had assumed the Weedon Brothers were mainly coal and coke merchants, but again newspapers and directories of the time offered further info. [Source: Kelly's Directory of Berks, Bucks & Oxon, 1911]. It seems that manure was also a key aspect of their business. The company features on the right in this directory clipping - amongst lime burners, loan offices, lunatic asylums and other essentials of progress!
     
     


    Though based at Goring, the Weedon Brothers had stores in a number of places, as illustrated in the above 1889 advert. I’m inclined to designate the wagon for manure rather than coal. I wonder what that would mean for the weathering? Richard's latest book on Wiltshire Private Owners is firmly on my wishlist.
     
     
     

     
    Anyway, the wagons are now running at Farthing. Here's No. 1897 knocking them about in the sidings behind the stables.
     
     

     
    Overall I've enjoyed the build. May have a go at applying my own transfers next time. 
     
     

     
    It's just a couple of plastic wagons of course, but I learnt a lot along the way. That's one of the great things about modelling, every build is an entry point to railway history.  Thanks to everyone for the help.
     
  17. Mikkel

    Trees for Farthing - Mark One

    By Mikkel,


    Scenery
    Projects over the summer have included trees. The original inspiration came from the tree-lined perimeters of Reading’s Vastern Road and King’s Meadow goods yards.
     
     
    Vastern Road yard, Reading, 1948. Source: Britain from above.
     
     
    The trees here were quite close to the track along some sections. Earlier photos from the 1900s show larger trees, so they must have been a feature from at least the 1880s.
     

    Vastern Road yard, Reading, 1948. Source: Britain from above.
     
     
    Apart from a bit of dabbling ages ago, this was my first real attempt at trees. It does show! But for what it's worth, here's a summary of how I did them. The basic armature was made from Treemendus 0.5 mm wire, cut to 150 mm lengths of which I used 45 per tree for my purposes. Similar wire can be obtained from florists.
     

     
     
    To form the trees, I used the method suggested by Treemendus, whereby one wire is twisted around others (rather than twisting all wires). This is certainly a quick method, but the outer wire does show.
     

     
     
    Treemendus recommend using masking tape in order to smooth out the trunk and main branches. This helps, but also adds to the thickness. Accordingly, I may use fewer wires per tree for the next batch.
     

     
     
    Once done, the armatures were coated in Treemendus bark powder. This can be sanded for a smoother look.
     

     
     
    For the crown and foliage I diverted from the Treemendus approach and instead used Heki sea foam, each piece glued to the armature with superglue. The pods can be removed, but I didn’t bother as the foliage I used conceals it.
     

     
     
    The crown was sprayed with a few quick coats of light brown/grey. I used Liquitex, these are low-toxic water based spraypaint for artists.
     

     
     
    Foliage was added using “coarse turf” from Woodlands scenic. This is the “burnt grass” shade.
     

     
     
    The foliage was attached using Hob-e-Tac- glue, non-toxic and very sticky.
     

     
     
    The foliage sticks to the outer reaches of the seafoam, leaving a nice natural branch structure behind it. 
     

     
     
    A coat of Woodlands “scenic cement” was sprayed on to further stick things down. This darkens the foliage somewhat, so I only did one coat. 
     

     
     
    As these are planted urban trees, they needed to be fairly uniform yet individually different. It helped to build them alongside each other. 
     

     
     
    I found that it was possible to make up individual bits of sea-foam twigs and retro-fit them to the trees. That way, any areas that I was unhappy with could be improved.
     

     
     
    The species is nominally London Plane-ish, although I admittedly concentrated more on just learning the techniques. I did try to indicate the mottled/patchy look of the bark with a paintbrush, but it doesn't show up well and needs more work.
     

     
     
    The original plan was to have 3-4 trees at the front of the layout.
     

     
     
    I liked the views beneath the canopy.
     

     
     
    And the shadow effect when the sun came in through our windows.
     

      
     
    But from a distance the layout seemed too “front loaded” and forbidding. Trying out various configurations I was struck by how the different positioning of trees can give very different impressions. E.g., compare these two photos:
     

     

     
     
    In the end I opted for the arrangement seen below. This gives me street trees but also an open view. It requires an extension of the layout at the back, featuring another road and - you'll be relieved to hear - a backscene. This is currently being built.
     

     
     
    It's all been an interesting exercise. I will probably keep this first batch of trees for the time being, but have started experimenting with alternative methods, including natural plants. More on that later.
     
     
  18. Mikkel
    I’ve added a selection of horse droppings to the road and yard on “The Stables”. 
     
    Obviously, prototype research was needed first! Period photos from the 1890s-1930s often show droppings in the street, especially where horse-drawn carriages were regularly parked.
     

    "Bicycle couriers with copies of the Manchester Guardian, which are being delivered to Euston station in London for circulation, circa 1920." Getty Images, embedding permitted. 
     
    Droppings can sometimes be seen strung out, as seen below. I assume that’s because the “action” happened while the horse was on the move. But just how many horses were involved here?!
     

    "A view along Holland Park Mews, London." Getty Images, embedding permitted.
     
     
    After a while, the droppings would get trampled or washed apart. 
     

    "Looking down one of the streets in the village of Hatherop, Gloucestershire, c1860-c1922." Getty Images, embedding permitted.
     
     
    In the busiest streets of large towns it could sometimes get quite messy, if I interpret the image below correctly. 
     

    "Newcastle ca. 1900. The entrance to Central Station and in the background, St Mary's church and spire." Getty Images, embedding permitted.  
     
     
    It’s worth pointing out, though, that many 1900s photos of street scenes show just a few droppings or none at all.  The street sweepers must have worked hard in the big cities!
     

    "London. Holborn Viaduct, about 1900." Getty Images. Embedding permitted.
     
     
    In villages with limited traffic, the manure would presumably have been rarer. And perhaps quickly snatched up for gardens?
     

    "Stratford-Upon-Avon, circa 1900." Getty Images. Embedding permitted.
     
     
    Despite busy horse traffic, urban goods yards also appear relatively clean, although sometimes the presence of a photographer may have helped!
     

    "Paddington Goods Depot, 1923.  Horse drawn vehicles carrying Witney blankets"  Getty Images. Embedding permitted.

     
    A study of contemporary photos and horsey websites showed that the colour and texture of droppings varies considerably. One factor is whether the dung is fresh or old. Another is the horse's diet. For example, I understand that low quality hay results in very brown droppings, while green grass will give you an olive tinge. Here's a selection, á la carte:
     

    Photos from Flickr Creative Commons. Credits clockwise from top left: Ben Schumin; Ben Schumin; David MW; Bernd Hutschenreuther; Jes; Jes.
     
     
    True dung enthusiasts will therefore need to study the fodder composition of the companies they model, which incidentally also varied across time and place. For example, Tony Atkins writes in "GWR Goods Cartage", Vol. 1, p77:
     
     
     
    I didn't go that extent though. Basically, I just tried out some stuff. From earlier experiments I knew that, when tapped repeatedly, the little balls that form in pigment bottles will move to the front and can be gently shaken onto the ground. This is Vallejo Natural Sienna pigment (ref. 73.105).
     

     

    The balls were secured by floating a little Woodlands Scenic cement alongside, letting the balls soak it up through capillary action. This binds the pigments together and sticks the balls to the ground. Once dry, a brushing of matt varnish sealed them further.
     

     
     
    Breaking up some of the pigment balls adds a more scattered impression:
     

     
     
    A light dusting of Johnson's baby powder made for a drier, more discrete look.
     

     
     
    A lick of dry-brushed paint resulted in a darker and more compact appearance. An almost black shade would be quite common,  but that turned out to be rather distracting. Little black spots tend to catch the eye! So I went for lighter brownish shades. 
     

     
     
    Standard GWR stable blocks had channels that helped carry droppings and urine out of the stable block and into the sewer. So there I went for a glitzy Wet Dung look, using a bit of gloss varnish.
     

     
     
    I used additional pigments around the edges to indicate a dissolving dropping.
     

     
     
    Arguably, my droppings are on the large side (quiet at the back!). But I think a slightly stylized look can sometimes work OK, as it helps the viewer interpret what they are seeing. Also, have you ever stood next to a shire horse?
     

     
     
    Not quite a shire horse. House-trained though. Let's see the Midland beat that!
     

     
     
    Although I like an uncluttered look, it's probably all still a bit too clean.
     

     
     
    I'm currently working on that. These are pigments brushed into the setts, after first adding a tiny drop of Woodlands Scenic Cement and letting it almost dry. The idea is to represent residue from past droppings. Must add some bits of straw too, as recently suggested by Matt.
     

     
     
    Meanwhile, Stableman John Rokesmith has had enough of it all. Not what he had in mind when he joined the railways. '"Romance of the footplate", my arse!'
     

     
     
     
  19. Mikkel

    Chinchilla sand and terrain paste

    By Mikkel,


    Scenery
    Been doing some scenic work on The Stables. I wish I could settle on a fixed set of approaches for the surface textures, but I seem to be trying out different methods on every new layout!
     
     

     
    The yards at Farthing tend to feature a cinders/ash/dirt mix for ballast, as seen in period photos. In the past I’ve used Polyfilla (handbuilt track) or DAS (RTR track). But I wanted a more textured look, so tried Chinchilla sand this time.
     
     

     
    I say Chinchilla “sand” because that’s what was available here in Denmark. Not sure it’s the same as “dust”? Anyway, the fine grain meant that extra careful cleaning of the sleepers was needed, and even then I missed some. 
     
     

     
    Hmm. Once wetted and stuck down with a PVA mix it set nicely - but close-ups revealed an unsightly shine from the quartz.
     
     
     
     
    So I applied a couple of fairly thick coloured washes, dispensed as drops from a brush. The sleepers did need touching up afterwards. 
     
     

     
    Well, I got my texture and can live with the result, but I'm not completely happy. Next time I may try mixing in some grout or real ash.
     
     

     
    For the yard's ground texture I have previously used Polyfilla, but wanted more control so tried a base of DAS, rolled and cut to size. Bacon sandwich, anyone?
     
     

     
    DAS on a PVA base, smoothed with a wet finger. 
     
     

     
    Antarctic railway. The grey DAS I use dries up white. OK as a base, but a bit too smooth for what I wanted.
     
     


    So I experimented with terrain paste as used by the diorama and wargaming communities. Got some for my birthday.  I ended up using mostly the AK Terrains Light Earth. Although coarser than Vallejo Sand Paste, I found it takes paint better and dries up dead matt.
     
     

     
    I think it's supposed to go on neat, but I found it could be thinned with water to control how coarse I wanted it. My best sable brush, not!
     
     


    Experiments showed it can be sanded down for more smoothness. Adds a bit of variation.
     
     


    In other areas I tried thinning the paste a lot, then stippling it on to add a slight gravel effect. The pastes would be an expensive solution if applied neat over large areas, but with thinning I think their potential increases.
     
     


    The whole thing was lightly coloured with thin washes of Vallejo acrylics.
     
     


    The layout has a slight embankment that separates the yards. This was treated to static grass.
     
     


    I haven't tried static grass before, what a superb mess you can make! I don't have much hair left, so I wonder…
     
     

     
    Although it’s summer I wanted a subdued colour, so used Mini Natur 2mm and 4mm "Late Fall", and a bit of Woodland Scenics 4mm straw. The phone camera exaggerates the yellow, it’s a bit greener in reality.
     
     
     

     
    Edwardian photos suggests that grass was fairly carefully controlled in yards back then, so I resisted the urge to apply it in patches everywhere.
     
     


    Lastly I tried working over the whole area with pigments. It helped blend things together. Note to self: This is MIG Light European Earth (P415), now rebranded as Abteilung 502 Light European Earth (2260). Also a bit of Vallejo Pigments Light Yellow Ochre (73.102).
     
     

     
    I suppose there’s an un-intended seaside look to it. Shades of Neil’s Shell Island layout. I wish!
     
     


    Where it’s at. Now onward with the trees.
     
     
  20. Mikkel

    Regrettable incident at 3 PM

    By Mikkel,


    Stories
    Over the years I’ve gathered a small collection of anecdotes and photos that document quirky situations and customs on the real-life railway. The idea is to re-enact them in model form while the glue dries on other projects. The Slipper Boy story was one attempt at this, although admittedly that one got a bit out of hand!
     
    Here’s another, simpler one.  First, the props:
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     
    *****
     
    Clear as mud, I suspect! Here’s what it’s all about:
     
    Railway Magazine, January 1906:
     

     
     
    Just another incident on the everyday railway, but we can’t allow this stuff to be forgotten! Below is an attempt to re-enact it in my Farthing setting. I’ll see if it works without words:
     
     

     
     
     

     
     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     
    *****
     
    That was the event as reported.  But I wonder what happened afterwards? All those tasty eels, and no ice left to keep them fresh... A quick discussion among the staff, perhaps, to find a solution?
     

     
     

     
     

     
     

     
     
    🙂
     
    *****
     
    PS: I couldn’t find a period description of exactly how live eel were transported in Edwardian days, so the container seen here is loosely based on a 1970 FAO publication which documents a method that does not seem out of place in earlier days:
     
    "Live eels can be transported in small quantities in tray-boxes […]. A typical wooden tray-box contains four lift-out trays about 50mm deep, each designed to hold about 10kg of eels graded according to size. The top tray is usually filled with crushed ice so that cold melt water trickles down through the eels during the journey to keep them cool and lively. […] Each tray has drain holes and is divided across the middle to make a total of eight compartments holding about 5kg each, that is about 40kg for the whole box. The lid of the box is nailed on, and the whole is steel-banded both to prevent pilferage and to prevent the eels escaping through the joints. Boxes of this type are used successfully for live transport not only within the UK but also for 24-hour journeys from the Continent with little or no loss."
     

     
    Source: http://www.fao.org/3/x5915e/x5915e01.htm#Live storage and transport
     
  21. Mikkel

    GWR 2-plank and 3-plank wagons

    By Mikkel,


    Wagons
    The first 2- plank wagon has appeared at Farthing, accompanied by a round-ended 3-planker. 
     
     

     
    The 2-planker owes much to Duncan, who kindly gave me one of his surplus 3D printed wagon bodies. Thanks again Duncan! I've been wanting to do a 2-planker since I saw Richards's early Opens some years ago.
     
     
     

     
    I’ve used the Swindon drawing in Atkins et al for reference, and the photo of Worcester built 19451 as the prototype.  Apologies to Dave for doing the same number as his 7mm 2-planker, but there aren't many prototype photos to choose from.
     
     
     

     
    The chunky brake-blocks were drawn up from the drawing and cut on my Silhouette, then laminated from three layers of styrene.
     
     
     

     
    Ribbed buffers from MJT. I had to fit a new floor as the old one cracked when I applied too much pressure. Still learning the ropes with these 3D printed materials.
     
     
     

     
    “I made this model all by myself”. I don't think so.  A word of thanks to the small-scale suppliers who make this part of the hobby possible. Not to mention all the helpful modellers out there.
     
     
     

     
    Enough with the bleary-eyed stuff, let’s paint this thing black! This is brush-painted Vallejo primer, convenient when you're in a flat during the winter months. 
     
     
     

     
    Then a base of red, and some Archer’s “rivet” transfers. The latter stick best on a rough surface, I find. The Vallejo primer is slippery, so I waited till the first coat of matt paint was on. Good adhesion, might do that again. The photo makes my standards look more exacting than they are.
     
     
     

     
    Stephen - who is doing a Saltney-built 2-planker - spotted a flitch plate and other solebar details on the prototype photo, so I tried to replicate that. Thanks Stephen. Later Microsol on top, then matt varnish, then more paint.
     
     
     

     
    The finished wagon. The prototype photo shows the paintwork in a very worn state, but I decided to be more gentle, so that it doesn't stick out too much among the other wagons.
     
     
     

     
    Having said that, my phone camera doesn't capture the weathering well, I have noticed that before. It seems to just highlight the main colour scheme.
     
     
     

     
    I’ve also built a round-ended three-planker from a David Geen kit, I do like them. 
     
     
     

     
    On many of these the ends were soon cut square, but some were left alone and occasionally pop up in early 1900s photos.
     

      


    Lettering in process. The eyesight is slowly going downhill, but I swear: A glass of Jameson helps me to focus.
     
     
     

     
    I’m gradually switching from HMRS to Fox transfers. I prefer the method of the former, but the printing on recent HMRS sheets isn’t quite up to former standards. I’m told it’s hard to find a printer who can do the sheets well. I sympathize and hope the HMRS succeed. The dates are when the sheets were purchased. 
     
     
     

     
    The finished 3-planker. The wagon was started in our little forest cabin, under poor lighting. That does show in places, lesson learnt.
     
     
     

     
    The wagons together. It’s counter-intuitive, but the 2-plankers were actually an 1 inch higher than the 3-plankers.
     
     
     


    Here they are with my existing 3-plankers. I suppose that’s more than enough of these types for my 1900s yard. But I wouldn't mind a few more. Nancy Hoffman of Maine has 2000 umbrella covers, so I have some way to go. 
     
     
  22. Mikkel

    Life in the fast lane

    By Mikkel,


    Musings
    I've been thinking that railway modelling needs a better public image. People seem to think the hobby is a bit weird and nerdy, when really we’re a bunch of smooth adrenaline junkies. Here are some examples from my own awesome life.
     
     
     
     
    Firstly, we railway modellers have really cool gear. These DIY tamping and scribing tools were made from coffee stirrers and my wife’s discarded sock knitting needles. Max bling! The top three are for smoothing DAS between sleepers and under rails. 
     
     
     

     
    I use Latex gloves to help seal glue containers. After years of doing this, I’m now wondering if they are in fact permeable.  But never mind, it adds a bit of style. I keep the bottles on the back stairs where our neighbours can admire them.
     
     
     
     
     
    Recycled kitchen sponge, used as a stop block.  Works quite well I find.  If you’re lucky, there are old bits of food left in there.
     
     
     
     
     
    "So what do you in your spare time?”. Oh, I like to put on latex gloves and scrub things with a toothbrush.
     
     
     

     
    The stuff I use for paint stripping is some serious sh*t. Not sure what the proper English term is, it's called "brown soap" in Danish. Used for cleaning floors. Wild, man.
     
     
     

     
    At weekends, I really let my hair down. In one recent highlight, I spent an hour painting sewing thread.  
     
     
     

     
    Then there’s our risk-taking mindset. For example, I recently sorted the kitchen cupboards. 
     
     
     
     
     
    This revealed more spices than we’ll never need, so I decided to experiment:  Would spices work as weathering powders? For improved adhesion, I mixed in some baby powder. 
     
     
     
      
     
    Feeling reckless, I also tried ground ginger.
     

     

     
    The verdict? Well it works OK in a pinch, but proper weathering powders are better. The layout smells great though. Makes for a good pick-up line.

     
     

     
    Speaking of pick-up lines, I like to experiment with dung.
     
     
     
      
    These are lumps of weathering powder on PVA. I think it could work for horse droppings, though more testing is needed. 
     
     
     

     
    It also seems to work when brushed into setts. Horse dung would be trampled and distributed pretty much like that, I reckon. Ordinary people don’t reflect on such things. I guess they just lack vision.
     
    So there’s railway modelling for you: Living on the edge, every day. Anyway, I‘m off to grab a Red Bull before I tackle those couplings. Hang loose, dudes.
     
     
  23. Mikkel

    GWR provender wagons

    By Mikkel,


    Wagons
    In 1884 the GWR centralized the provision of provender, so that every stable block on the system received a regular supply by rail from the provender store at Didcot, typically every 1-2 weeks. The supplies consisted of hay, chaff, straw bedding and sacks of feed. The feed included oats, beans and maize, either pre-mixed or separate.
     
    The sizeable stable block at Farthing obviously needs a regular supply of feed and bedding, so two provender wagons have been made. I began with a diagram Q1, using the Coopercraft kit.
     

     
     
     
    The GWR only made a total of 12 dedicated provender wagons, in two slightly different lots of six. The Q1 kit represents the later batch, built in 1903 with diagonal bracing. They were very camera shy, the (cropped) image below is the only one I have seen so far.
     

     
     
     
    As usual, the build involved modifications. The Vee hanger on these wagons was significantly off-center, towards the right. The instructions don’t mention this. So both vees were cut off. The solebars need shortening, and the end brackets must therefore also come off. Here is the original solebar (top), and a modified one (below).
     

     
     
     
    Then, sides and ends. The locating pips for the floor were removed. They make the floor sit too low, and the solebars in turn end up beneath the headstocks.
     



     
    As provided, the brake gear does not take the off-center Vee into account, as this trial fit shows.
     

     
     
     
    So the brake gear was modified to suit. Looks a bit odd, but that's what the drawing and text in Atkins et al shows.
     

     
     
     
     The DC1 brake gear was made using parts from the  Bill Bedford etch (recently withdrawn). The buffers are from Lanarkshire Models.
     

     
     
     
    The built-up wagon in GWR wagon red, as it would have been painted when built in 1903.
     

     
     
     
    Apart from 12 purpose-built provender wagons, most of the GWR's provender was carried in numerous standard open wagons of all sorts. Several photos show them loaded improbably high. I decided to have a go at replicating this. This close crop, from a much larger shot from Vastern Rd yard at Reading, illustrates what I was aiming for.
     

     
     

    I set to work on some plumber’s hemp, cut fine and built up in layers on a foamboard box, using diluted PVA. Not the 9 o’clock news!
     

     
     

    Then sheets (a.k.a. tarps) were made, using my usual method. Ian’s superb sheets were re-numbered and printed on regular paper, then laminated with thin foil and varnished multiple times, before weathering. The result is a shell that can be easily shaped and supports it’s own weight (see this post).
     


     

    I designed the load to fit my 4-plankers. My initial plan was to have the entire load and sheeting detachable, in line with my normal approach. In this shot, the tarp and load are separate, but magnets hold them together and allow easy removal.
     

     
     

    However, with a high load like this I felt that the lack of roping looked odd. So I decided to see how it would feel to have permanent loads and sheets. I  recruited one of my 4-plankers and added roping and side-cords, using painted sewing thread.
     

     
     

    Indents were made in the sheeting by pressing the edge of a ruler into the paper/foil shell, in order to emulate the ropes pulling down the sheet.
     

     

    This is what I ended up with. Don’t look to closely at how the cords are tied at the ends. Photos of provender trains don’t show clearly whether and how they were used in a situation like this.
     
     
     

    Sometimes, the GWR used two sheets laid sideways instead, as illustrated in this cropped detail of a train of hay bales.
     

     
     

    I decided to do the same on my high-sided Q1 wagon. Here is the usual foil shell, this time composed of two sheets.
     

     
     

    For the roping and cords, I loosely followed the cropped image above.  I also tried to fold the sheets at the ends as per that photo, but gave up:  Try as I might, it just looked weird in 4mm scale. Another time maybe.
     

     
     
     
    The wagons together. The charm of everyday solutions versus boxy functional design.
     

     
     
     
    Here are a few photos of the wagons in action on the (unfinished) new layout. A Buffalo class arrives with the weekly delivery of provender. Conveniently, the stable block at Farthing happens to have a siding alongside.
     

     

    Meanwhile, Betty is having a drink in preparation for the morning round. Proper care of railway horses was a serious matter, though hardly for ethical reasons. Horses were a company asset and an important part of operations, so obviously needed good maintenance. 
     

     
     

    The loco has left, and the wagons are sat in the sidings. The camera has exaggerated the sheen.
     

     
     
     
    A close-up, warts and all. The mind struggles to accept that the hay wasn't completely covered over. There is room for improvement with the roping and cords, several lessons learnt there.
     

     

    I'd like to experiment more with the shaping of the sheets. Here I have made slight rounded indents along the bottom to avoid a straight line. Period photos show that, although sheets were pulled as taut as possible, there were still lots of wrinkles etc. 
     

     
     
    Despite these experiments, I’m still undecided about permanent loads and sheeting. To illustrate my doubt: It's the next day and the Buffalo class is back to pick up the provender wagons. But wait, what’s this? They are still full and sheeted! More thinking needed. It never ends.
     

     
     
     
  24. Mikkel

    One morning long ago

    By Mikkel,


    Stories
    One morning long ago, an 1854 class shunted the Old Yard at Farthing.  
     
     
     


    The crew were slightly bored. Nothing much ever happened in the Old Yard. Just a handful of sidings.

     
     


    A carman (sic) watched them roll by, perched on his trolley (Birmingham pattern). The carmen at Farthing were famous for not using reins. 
     
     
     

     
    William Simmons was particularly skilled. Known as The Horse Whisperer, he worked without reins for 46 years and never had an accident. People did wonder why his rounds took so long. It turned out his whispers worked on women too.
     
     
     
     
     
    On the other side of the tracks, lad porter Herbert Pocket was busy cleaning the lamps.  
     
     
     

     
    Herbert had two goals in life: He wanted to drive locomotives, and he wanted to die like a hero.
     
     
     
     
     
    He was last seen in the Congo in 1924, hanging off the tender of a runaway loco. They say he was smiling.
     
     


     
    Meanwhile, porter Alfred Jingle watched the train draw closer.  The morning fog was thick as pea soup. He liked a good pea soup.
     
     
     
     
     
    As the wagons rolled past, Alfred tried to avoid eye contact with Thomas Grig up in the lamp. They hadn’t spoken since the lardy cake argument. They’d been friends for years, but you have to draw a line somewhere.
     
     
     

     
    Thomas, for his part, had other matters on his mind. A lamplighter for 26 years, he had so far scaled the lamps at Farthing 81.121 times.  He knew, because he counted. He counted, because secretly… 
      
     
     

     
    …Thomas had an intense fear of heights.
     
     
     

     
    When he finally retired, Thomas bought a one-storey cottage in Holme Fen, sawed the legs of all his furniture, and heaved a long sigh of relief.
     
     
     

     
    The train rumbled on through the pointwork. The unsheeted Open carried a shipment of Empty Promises. A local MP would pick it up later.
     
     
     

     
    Shunter John Redlaw changed the points to No. 3 siding.
     
     
     

     
    Known as "The Phantom" he had a manner of appearing from nowhere exactly when needed, only to disappear again as soon as the job was done.
     
     
     

     
    The loco propelled the wagons into the siding...
     
     
     

     
    ... towards the covered goods dock. 
     
     
     

     
    Goods porter Samuel Slumkey watched the wagons approach. 
     

     

     
    As a veteran of the Red River Rebellion, the Urabi Revolt and the Sikkim Expedition, Samuel had travelled to the ends of the earth.
     
     
     

     
    It turned out, however, that the real edge of the world was right here in Farthing.
     
     
     

     
    As the train came to a halt, the porters prepared to put in some heavy work.
     
     
     

     
    Not Tom Roker though. Comfortably seated on his favourite barrow, he always found an excuse for not working. In fairness, whilst sat there thinking he invented a universal vaccine, a waterless crop, and an unlimited supply of clean energy. He never wrote it down though. He couldn’t be bothered. 
     
     

     
     
    As the crew prepared to pull back, George Rouncewell said good morning. Not to the crew, but to the loco. He often spoke to the locos.
     
     
     

     
    They all thought he was potty, but George had his reasons. He had worked ten years in the A shop in Swindon, before an errant bar of hot iron put a stop to it.
     
     
     

     
    So these weren’t just locomotives, they were old friends.  He would even order pints for them at the pub. And drink it all. On their behalf, you understand.
     
     
     

     
    Uncoupled, the loco backed away, leaving the wagons behind.
     
     
     

     
    As they drove off, bunker first, the driver said: “Staff here seem quiet today”.
     
     
     

     
    “Yep”, said the fireman, “Bit of a dull lot”.
     
     
    ***
     
    PS: Most of the figures have been modified, some extensively. The captions are all true, only the facts have been changed.
     
     
  25. Mikkel

    GWR weighbridge office

    By Mikkel,


    Structures
    A weighbridge has appeared at Farthing. It began as a kit, but in the end much of it was scratchbuilt. Here's a summary of the build.
     
     

     
    This was the point of departure, a lasercut kit from Rail Model. A little research showed that it is based on the prototype at Leckhampton, a drawing of which appears in the EricPlans volume on GWR and LMS structures. 
     
     

     
    The kit is nicely cut, but I noticed that the corners weren’t mitred. So I sought to remedy this with a file. Bad idea! The MDF edges began to crumble. My mistake.
     
     

     
    I eventually decided to cut a new ‘skin’ from SE finecast brick sheet. This also changed the brickwork from Flemish to English bond, thereby bringing it into line with other brick structures at Farthing. 
     
     

     
    Perhaps I should have built a whole new inner core while I was at it, but I like the idea that the original kit is still in there.  
     
      

      
     A bit of rudimentary furniture.  
     
     

     
    Also a rough outline of the scales - a Pooley design, using bits of styrene and glue brush handles.
     
     

      
    Bird's eye view of the interior. Frankly, almost none of it can be seen from outside! Regarding the blue distemper, see the discussion here – including Tim V.’s interesting photos.
      
     

      
     I decided to make the roof detacahable in case something inside comes loose, or I want to add some staff. 
     
      

     
    Some GWR weighbridges had sliding windows. Some offices had six panes per window, others had four.  The windows supplied in the Rail Model kit provide for this. They’re a bit deep though. Sanding them down is an option, but I didn’t fancy the MDF dust. 
      
      

     
     So I drew up new windows in Inkscape and cut them on my Silhouette. I had some trouble getting the ‘crosses’ neat. 
     
     

     
    A trial fit of the main windows. A closer study of GWR weighbridge offices show that details differ in almost every case. The windows on the Leckhampton structure were positioned relatively high compared to other designs, and centrally rather than off-set to one side.  
     
     

     
    The roof slates were cut from self-adhesive vinyl on the Silhouette, as per the stable block. Once again thanks to Lee for this tip.
     
     

     
    Inspired by @Dave John (a.k.a. the Magnet Man) I stuck a magnet under the roof. That way I can lift it off without damaging anything. 
     
     

     
    Gutters from Wills, and some downpipes fashioned from brass wire.
     
     

     
    The door opens inwards. Makes it harder for those Midland Railway rogues to barricade it from the outside. 
     
     

     
    A 'warts and all' view of the window end. The Leckhampton structure was unusual here: Most GWR weighbridge offices had no window in the end wall, or just a small one.  The Leckhampton building had blue bricks at the base, common but not universal. I decided to go for plain red bricks in order to match the stable block. 
     
     

     
    Trial fit on the layout. I'll have to shift the whole thing further into the yard, so that the staff can better access the door. Slight planning c*ck-up there!
     
     

     
    The weighbridge itself is a Smith etch of a Pooley design. The instructions say it is based on the one at Knightwick, installed 'around 1889'.
     
    That's it for now. Thanks to everyone who helped with information! 
     
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