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Mikkel

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Blog Entries posted by Mikkel

  1. Mikkel
    The whitemetal wagon kits from David Geen have tempted me for many years, so I thought it was time I gave them a go.
     

     
    I began with this round-ended 3-planker of 1881 vintage, for use in my “out of period” running sessions.
     
     

     
    The good stuff! Nothing like a bit of research to start off a new kit. The round ends were not long-lived on the 3-plankers. From 1883 the GWR introduced square ends, and many of the existing round-ended wagons appear to have been cut down to square ends within a short period. Perhaps to allow for extended loads? Or possibly an early EU regulation .
     
     

     
    The parts are nice and reasonably crisp. Some had flash but it was easily removed.
     
     

     
    The kit was built using Araldite. All very old school but I find it less stressful than soldering when it comes to whitemetal. Which says more about my soldering skills than anything else! I added wheels from Alan Gibson, running in Romford pinpoint bearings.
     
     

     
    I rarely regret being an OO modeller, but this is one of those occasions when the gauge issue raises it’s ugly head. That's no fault of the kit, though, but of the gauge! No doubt I will soon have forgotten all about it and go back into the usual state of denial .
     
     

     
    I went for a slightly worn look. We tend to imagine Victorian liveries as completely spotless, but I can't bring myself to believe that it was really like that at all times and in every case. The 3-plankers were originally 9-ton wagons, although those that retained grease axleboxes were downgraded to 8 tons by the 1900s.
     
     

     
    The wagon on "The bay". There is still some debate over the exact period of the red wagon livery. 
     
     

     
    This was a straightforward and enjoyable build. A square-ended version has also been purchased, for future use on "The depot" within my more normal 1900s timeframe.
  2. Mikkel

    4mm slate roofing

    By Mikkel,

    I've been looking at options for modelling the slate roof on the goods depot at Farthing. For what it's worth, here's a quick overview of the options considered. Above is one way of doing it: Lengths of thin card strips scribed vertically, and overlaid. I think this can give good results - in 4mm at least.
     
     
     

     
    But thin card also has its drawbacks! I recently noticed that the roof on the parcels office at Farthing has buckled. Either the glue has simply let go, or it was caused by a repaint I did a while back. Using the same method but with plasticard might have been better, as convincingly demonstrated in this blog entry by 45584 (albeit in Gauge 1!).
     
     
     

     
    An alternative to scribing things yourself are these "ready-scribed" slate sheets from Slaters (ref no. 0427). The idea (I think!) is that you cut out each length and overlay them.
     
     
     

     
    I may have failed to grasp the concept here, but my experiments with the Slater's sheets suggest a significant overscale thickness of the slates (according to the Slaters catalogue, the plasticard thickness is 0.015'). Or have I misunderstood something? Until someone tells me differently, I've decided not to continue down this road.
     
     
     

     
    A third main option is of course the ready-to-fit embossed sheets, available in various guises. There seems to be two main types here: Those that are printed "flat", and those where the slates actually appear to "overlap". The flat-printed ones can sometimes work well: This roof on a (rather careworn) Coopercraft platelayer's hut gives a reasonable representation, I think.
     
     
     

     
    However, the Wills slate sheets seem to me the best of the ready-embossed solutions I've seen yet. The shingles actually give the impression of overlapping....
     
     
     

     
     ...and they have an ever so slight irregularity that can be further accentuated during painting and weathering, as on the right.
     
     
     

     
    But of course, nothing is perfect. One well-known issue with the Wills sheets is their limited size, which means several have to be joined for larger rooves...
     
     
     

     
    ....and another issue is their thickness. I don't think the individual shingles look overly thick, but at the edges it becomes more of a problem, as seen on this canopy on the goods depot. Nevertheless, so far I think I'll go ahead with the Wills sheets as the preferred choice. 
     
    Update Feb. 2019: 
    Since this post was written I have experimented with:
    Pre-cut slate sheets from York Modelmaking (more on that here) Slate strips cut from vinyl (more on that here).  
  3. 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 
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     
     

     
     
     

     
     

     
  4. Mikkel

    A flexible layout

    By Mikkel,


    Layout design
    I have been thinking about an idea for a "flexible" layout. This is still very much developing, and what you see here is not an actual trackplan, but an illustration of the concept. The basic idea is a layout where selected drop-in modules can be removed and replaced with other modules. So a particular cameo, building or siding can be exchanged with another cameo, building or siding – thereby changing the look of the layout. This in turn allows for variation in rolling stock and operation.
     
     
     
     

    Ultimately, such a concept gives endless possibilities of varying a layout from one operating session to another.
     
     
     

     
    In my case, though, the aim would be to have a layout that can capture a little of the way in which a railway scene changes over time. In real life, sidings also frequently changed their length and purpose over the years, as stations were rebuilt, trackplans changed etc
     
     
     

     
    I also like the idea of having the layout change over the course of a single day. Exchanging one lineside diorama for another could be used to indicate that we have now passed from morning to afternoon.
     
     
     

     
    Buildings and their immediate environments could also be prepared as individual dioramas and then used on the layout as appropriate. It would be interesting to buy a couple of ready-to-plonk buildings and then have one in pristine state while distressing the other one, in order to show the passage of time.
     
     
     

     
    The layout could be designed to be viewed from all sides. That would add to the feel of an "interactive" scenery.
     
    Anyway, it would be interesting to hear if people think it is actually feasible? Joins will clearly be the big issue. But I'm sure something similar has been tried before, so if there are any thoughts or experiences out there I'd be happy to hear them.
     
  5. Mikkel

    A most implausible arrival

    By Mikkel,


    Stories
    One of the reasons I chose to model Farthing was the rather unusual combination of stock sometimes seen in that area. In this case, East meets West as the thoroughly Cornish 0-4-4T No. 34 heads a train of Holden 4-wheelers from the Metropolitan area. A highly implausible combination, especially during this period and in this location! Above, Driver T. F. Oberon eases the branch train into the bay, while Fireman R.S. Peaseblossom is looking desperately for his lunch bag.
     
     

     
    The branch train comes to rest in the bay. It is seen from the alternate, non-viewing side of the layout, with the sky edited in. The coaches are an All Third to Dia S17 and a Brake Third to Dia T59, and consist of Shirescenes sides on modified Ratio underframes. They are approximations as the ends are only 5 panels wide in order to fit the width of the chassis, whereas in fact they should be 6 panels wide. I wrote up some building notes here.
     
     

     
    A closer view of No. 34. This loco was originally built and owned by the late Dave Perkins, with whom I shared an interest in Edwardian GWR. I hope to make a separate post showing some of his locos later on. No 34 was built from the old Albion (now Roxey Mouldings) kit, and is the only pre-owned loco I have that did not require some form of repair or repaint when I took it over.
     
     

     
    No. 34 has run round its train and is shunting a horsebox off the branch train and into the horse dock. I haven't fitted Sprat & Winkle couplings to this loco yet, so am using screwlinks/3-links and the Big Hand from Above to work it. Not easy when you have to reach over the canopy.
     
     

     
    Ganger P. Quince watches No. 34 shunting. Not an easy man to impress, he is nevertheless captivated by the unusual branch train today. Meanwhile, a bit of grass conveniently grows at the base of the water tower. Not that it is hiding a gap, of course!
     
     

     
    A classic platform cameo, as we take leave of No. 34 moving past in the background.
     
  6. 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: 
     
  7. 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!
     

     
     
  8. 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.

     
  9. Mikkel

    A parcel for Mr Ahern

    By Mikkel,


    Stories
    Our story begins inside a parcels van on the Westbury to Farthing stopping train. The parcel in the middle is of particular interest to us. It is addressed to a Mr Ahern at No. 7, Memory Lane, Farthing.
     
     
     

     
    Safely arrived in the bay at Farthing, the parcels are handled by Porter P.W. Saunders. The one for Mr Ahern is under his hand. The flat package in front contains a scientific manuscript, in which a certain A. Einstein proposes that space and time are not constant. The parcels van is to Diagram W1 and was kit-bashed from Ratio sides (described here).
     
     
     

     
    On his way to the parcels office, porter P.W. Saunders passes the train's engine and is intercepted by a customer who enquires about departure times, apparently oblivious of the timetable behind him. The steam effect is out-of-focus cotton wool, a trick stolen directly from the cover of the latest MRJ (no other comparison intended!). The MRJ cover can be seen in this RMweb thread - but better still, buy it!
     
     
     

     
    After sorting in the parcels office, our package continues its journey. It is now carried by porter C. Walker on a kit-built barrow from P&D Marsh. Walker himself consists of one part worker and two parts signal man from the Monty's range. His once youngish face has been heavily re-sculpted, and the cap filed down to represent a GWR type. Despite all this, Walker sleeps well at night, and is seen here having a brief exchange with shunter George Mullins. Meanwhile one of the old pre-diagram brake vans of the 1882 design awaits its turn on the evening "mixed" to Overbourne. The van was scratch-built by Chris Edge many moons ago, and is next on my list of restoration jobs.
     
     
     

     
    The parcel for Mr Ahern awaits loading in front of the horse drawn delivery van. One of the other packages contains a painting by a young Spanish artist by the name of Picasso. It is not clear why the painting is headed for Farthing, and to this day it remains hidden and unknown in an attic in Wiltshire! The lettering on the van was based on photos from the period (including the use of different fonts), and drawn up in MS Word with a brown background to match the van colour. It was then printed on thin paper and stuck to the van side. This shot is ruthless but from a normal viewing distance it looks OK. The poster is an original GWR example from 1907, reduced to scale size and printed.
     
     

     
    The parcel has been delivered at No 7 Memory Lane, and the contents have been presented by Mr Ahern to his son John.
     
     
    Postscript:
    The boy is of course John Ahern, who was four years old at this time (1907), and who went on to pioneer the scenic aspect of railway modeling. This included building the revolutionary Madder Valley Railway, now at Pendon. I am aware that at this point in time the tin-plate loco would most likely have been from Maerklin or similar, but I couldn't resist the temptation to use a photo of my own Meccano/Hornby M2 for the scene. My grandfather gave it to my father, who passed it on to me.
     
     
    Merry Christmas everyone!
  10. 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!'
     

     
     
     
  11. Mikkel

    A roof for "The depot"

    By Mikkel,

    I’ve been working on the alternative side of the goods depot recently. The sides and roof are now more or less done and I'm preparing to lay the ground and track in front of it. The roof has caused much muttering and swearing. Some time ago I dropped the whole thing on the floor, and had to rebuild much of it. Because of the accident, the roof is now slightly out of true in some places. That's not really visible, but it meant I had to give up on flush-glazing it. Certainly a compromise, but I was getting close to abandoning the whole thing, so decided that I had better just accept it and move on.
     
     
     
     
     

     
     
     
     
     

     
    I like looking down through the glazing to the scene below. Not really what the layout was designed for, but a nice extra bonus.
     
     

     
    The roof structure gives a nice play of light and shadow inside the depot, which varies greatly with the lighting and time of day.
     
     

     
    I prefer it when the shadows appear naturally...
     
     

     
    ...but they can of course be further enhanced by "staged" articifical lighting as above.
     
     

     
    My struggles with the roof have been a mental barrier, so it's nice to be past that point. I can now get down to things I enjoy more, such as weathering these walls further, and getting the details in place.
  12. Mikkel

    A shed and a lock-up

    By Mikkel,


    Structures
    I’ve scratchbuilt some more buildings for Farthing.
     
     
     

     
    First up is this small goods shed, adapted from a prototype built by Eassie & Co. at Speech House Road station on the Severn & Wye. The contractors Eassie & Co. had an interesting history, nicely described in this PDF file by the GSIA.
     
     
     

     
    The prototype had a brick base, but I decided on a timber base and a few other detail changes to suit my tastes. The roof is detachable so I can detail the interior.
     
     
     

     
    The doors are modelled open so you can see what’s going on inside. I like the effect but it does add to the time and cost as you have to model the interior walls and framing too.
     
     
     

     
    One reason I chose this prototype was the potential for a nice view through the open doors across the tracks, in line with my preference for “see through” structures at the front of layouts.
     
     
     

     
    There’s also a view through the side door. The prototype had the door right up against one corner, probably to save space inside. It looked odd in model form though, so I moved it. If only the real world was so easy to change!
     
     
     

     
    Here’s another little building I’m working on. This is a lock-up/storage room based on a prototype at Long Marston. There was a very similar structure at Lustleigh.
     
     
     

     
    My version is some 25% larger than the prototype, in order to add a bit of mass.
     
     
     

     
    I normally use the Wills sheets for slate roofs, but on this lock-up I thought I’d try out the slate sheets from York Modelmaking. I have seen them used with very convincing results, not least on Iain Robinson’s wonderful creations (no longer on the web, sadly).
     
     
     

     
    Unfortunately I had forgotten how sensitive paper can be to glue stains and bending/fraying at the edges. Experienced card modellers would no doubt have made a better job of it!
     
     
     

     
    Here’s a direct comparison between the Wills sheets (left) and the York Modelmaking strips (right) before painting.
     
     
     

     
    I’m really not very happy with the roof, and may give it another try. Incidentally the prototype photo doesn’t seem to show any gutters or drainpipes, which puzzles me a bit.
     
     
     

     
    The buildings in place on the layout.
     
     
     

     
    The shed painted and showing the see-through effect.
     
     
     

     
    The lock-up on the workbench, ready to embed.
     
     
  13. Mikkel
    Here's a little scratch-building project that I'm working on in-between the coach painting. The prototypes were used extensively at Paddington Goods in the 1900s. A similar but more austere type was used at Hockley. I couldn't find any drawings, so the dimensions are guesstimates based on photos. The build was a real pleasure, especially sourcing the parts. I'll let the pictures explain the rest - gradually!
     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
     

     
    In other words, a shed crane. I still need to model the operating lever which was situated next to the crane, and which (as far as I understand) connected to a mechanism beneath the deck. I plan to build at least one more of these - although possibly a more heavy duty type.
     
    There are a couple of things I might do differently on the next one. I think the counter-weight is a little underscale. I will also do the pulley wheels different next time. We live and learn!
     
    PS: Thanks to Missy for the tip about the watchmaker's parts, available on ebay.
  14. Mikkel
    This 4 minute video spans the period 1867-1947 on The Farthing Layouts. These 4mm layouts are normally set in 1907, but occasional forays into earlier and later time periods has allowed for a bit of pragmatic "out of period" modelling and operation.
     
  15. Mikkel
    Here's a summary of my latest build, an agricultural merchant’s warehouse, inspired by this prototype.





    As has become my habit I've modelled all doors open to allow for…





    ...see-through opportunities.





    That approach does mean that the interior walls and framing have to be indicated - don’t look too closely though!





    I used Will’s corrugated iron sheets for the main walls. They are rather thick so I fitted sliding doors on the outside to conceal the thickness. The windows seen here were my first attempt…





    …but I ended up using this technique instead, after good advice from Richard of this parish (thanks Richard!). The glazing material was scored and painted black, and when touch-dry the excess paint was wiped off.





    This gave a much finer result as appropriate for this type of building, seen here on the right with the original effort on the left.





    The timber staging was built from stripwood, while the main deck is from model shipbuilders' decking. Oddly it seems that the latter is not easily available in the UK, though we have it here in Denmark.





    For the lettering I used a plain alphabet sheet from Fox. The Cheeryble Brothers appear as merchants in Nicholas Nickleby.





    I browsed the web for agricultural adverts and worked on them in Paintshop Pro to change perspective etc. For the time being they have just been printed on paper and varnished, but our printer isn’t quite up to it so I’m having them printed on proper photo paper instead. Thanks for the help and tips with this from Southernboy, Ian, Rob and others. I’ve put the adverts in a Flickr album here in case anyone has use for them (not to scale).





    The roof is Slater's corrugated iron sheets, cut into individual sections and stuck onto a base sheet. Rather than overlaying the sheets, I pushed each sheet slightly up and above the edge of the adjoining one, thereby hoping to indicate an overlap but avoiding the thickness.





    I slimmed the edges of the sheets with a scalpel. The slight size variation of the sheets is deliberate.





    The trimmed Slater’s sheet next to the Will’s sheet. BTW I got several other good suggestions for corrugated roof options, including H0 aluminium sheets on ebay (thanks Pete) and some intereresting looking Redutex types. May try these later.





    So, a rather long story for a seemingly simple structure. I learnt a lot from this build though, and many thanks to the many RMwebbers who provided input!
  16. Mikkel
    Farthing, June 27, 1914. Europe is on the brink of war, but noone knows. The staff go about their morning routines, and No. 835 sleepily shunts a horsebox.
     
     
     

     
    Station Master A. Woodcourt examines the scene. He likes the order and calm of the bay area. He is feeling his age and hopes it will be a quiet day.
     
     
     

     
    But it is not to be. As he propels the horsebox into the sidings, driver T.F. Oberon notices a problem. Throughout his life with the railways, he has been able to smell a hot axlebox. And he can smell one now.
     
     
     

     
    As the "hot box" is confirmed, Woodcourt realizes he has a problem on his hands. There is a major event at the Farthing Race Course today, and there are no spare horseboxes to deploy.
     
     
     

     
    To make matters worse, the owner of the horse turns out to be the rather brusque and imposing Mr Bull. As Bull launches into yet another of his long-winded complaints about the state of the country's railways, Woodcourt realizes it is going to be one of those days...
     
    ***
    Credits: Horsebox built by Pete Morris.
    ***
     
    Will Woodcourt solve the problem? Will the horse make it in time for the races? What else is in store for the good people of Farthing? Find the answers in the next instalment of "All in a day's work"...
     
    Go to part 2
  17. Mikkel
    "Francis, what on earth is that?"
    "I don't know, dear"
    "It says 'Monster' on the side. How terribly silly. Why on earth would they call a railway carriage something like that?"
    "I don't know, dear."
    "Perhaps it's for third class passengers? I don't suppose the working classes need much light."
    "I don't know, dear."
    "Francis, I do wish you were more knowledgeable."
    "I know, dear."
     
    As the Longbottoms fell silent, the Monster rolled past them in all its might. This was no. 484 of the P18 diagram, built to carry scenery and props for travelling theater companies. These carriages were recent introductions, and there were only six on the entire system at this time. No. 484 was the first of its kind to visit Farthing.
     
     
     

     
    Station Master A. Woodcourt was watching the approaching carriage with concern. It had arrived a day late, and the main yard was busy. So he had ordered it unloaded in the down bay. But he was worried about the loading gauge. In principle there shouldn't be any problems, but these new carriages were big, and they didn't normally use the bay for carriages of this size...
     
     
     

     
    In the cab of No. 835, the crew were also keeping a sharp eye on clearances. They had both worked this bay since it was built by the independent N&S many years ago, and they knew that the standards laid down by that company had sometimes been a bit, well, "optimistic". It would be close!
     
     
     

     
    Shunter George Mullins, ever the pessimist, was watching the scene with a sceptical eye.
    "Well the drawing boys at Swindon have done it again."
    "What's that then?"
    "Drawn something too big and impractical! It may look fine on their fancy desks, but out here in real life it only leads to problems."
    "It seems to be going well enough, though."
    "Well they've been lucky this time. But with everything getting bigger and bigger, there'll be no work left for us shunters in the end.You wait and see, in a few years a whole train will just be one long carriage!"
     
     
     

     
    Much to everyone's relief, the Monster slid neatly into the loading dock, with just a few centimeters to spare.
     
     
     

     
    As unloading of the carriage began, Woodcourt was confronted by the director of the travelling theater company, Mr Crummles (Junior). Clearly of a choleric disposition, he launched directly into an assault: "Do hurry up! This delay is totally unacceptable! Are you at all aware that we have our opening night this evening? We shall be needing our scenery and props in just a few hours. This is not some petty local act, you know, this is Shakespeare!"
     
     
     

     
    Ganger P. Quince had seen it all, and was not impressed by the fury of the theater director. With the sarcasm for which he was well known, he muttered under his breath: "Shakespeare, eh? Well, I reckon Shakespeare will have to wait for the Great Western just like everyone else."
     
     
     

     
    It was at this point that a shout of alarm was heard across the loading dock. As everyone looked up, carter Tom Gradgind stared blankly ahead of him and exclaimed: "A murder, I think there's been a murder!"
     
     
     

     
    A murder? As he took a minute to gather his thoughts, Woodcourt couldn't help but consider who might possibly commit such a foul act. The Longbottoms? Or one of his staff? Or carter Gradgrind himself? Surely not! And yet....
     
    Go to part 4
  18. Mikkel
    The men stood in silence and stared at the broken crate. It had fallen on its side and the contents had spilled out. There was no mistaking it: There in the middle....
     
     
     

     
    .... was a human skull.
     
     
     

     
    Station Master A. Woodcourt was the first to speak: "Well it may be a murder, but it's hardly a recent one!"
     
     
     
     

     
    At this point the director of the travelling theater company launched into a major outburst: "A murder? Are you mad? We use that skull for Hamlet! Didn't I tell you we were playing Shakespeare? And now I really must insist that your men hurry up with the unloading, or there will be no play tonight at all!
     
     
     

     
    And with that, they all got back to work. All except T. Gradgind, the carter. For a long time, he stood looking at the skull: Those cheekbones, that forehead. It strongly resembled his aunt Augusta. Augusta, the would-be actress who disappeared under mysterious circumstances a few years ago. Should he tell someone? He decided against it. They wouldn't believe him. They never did.
     
     
     

     
    Meanwhile, Station Master Woodcourt had returned to his favourite spot at the end of the bay platform. He was thinking that it might be time for a toffee (and that he rather deserved it) when one of the men interrupted his thoughts. A point failure had developed at the entrance to the carriage sidings. It was being worked on, but the problem was what to do with the Slip coach off the 15:55: It was still sitting in platform 3, blocking the up main. Would it be acceptable to store it in the bay for the time being?
     
     
     

     
    That sounded good to Woodcourt, and so the handsome Toplight Slip was propelled into the bay siding....
     
     
     

     
    ....with the trusty No. 835 and driver T.F. Oberon in charge.
     
     
     

     
    This particular Slip was a compo to diagram F15, originally introduced in 1909. Like the other Toplight designs, it clearly signalled the modern and functional style that was becoming apparent everywhere on the GWR after the beginning of Churchward's reign.
     
     
     

     
    As the coach came up against the buffer stop, a new problem became apparent: The coach would block the exit to the run-round when the first branch train arrived tomorrow morning.
     
     
     

     
    Uncharacteristically, Woodcourt decided to deal with the problem tomorrow. It had been a long day and he really was feeling his age. Perhaps tomorrow would be better. Tomorrow was June 28, 1914. That sounded peaceful enough.
     
    THE END
  19. Mikkel
    "Surely you do not intend to transport my prize-winning champion in that ?!". Mr Bull looked incredulously at Woodcourt, the Station Master of Farthing.
     
     
     

     
    Woodcourt was acutely aware that the situation required all his diplomatic skills. "I'm afraid this is our only option" he replied "and we do convey horses in cattle vans quite frequently. The sheeting will keep her from panicking." He decided not to mention that the only horses ever carried in cattle vans were lowly farm animals.
     
     
     

     
    Faced with no alternative, Mr Bull finally gave in. "But make sure to tighten the tarpaulin better. Those ropes look slack and I won't have my champion go down with pneumonia!". Heaving a sigh of relief, Woodcourt made a mental note to remind the staff of the sheeting regulations. Those ropes did look rather slack!
     
     
     

     
    As No. 535 moved the van and its valuable cargo out of the loading dock, porter C. Walker realized that he now possessed some very useful inside information. After that ride, chances were that Mr Bull's champion wouldn't live up to its usual reputation at the races today. Best get some bets in.
     
     
     

     
    Meanwhile, Woodcourt was happy to see the horse move off. He congratulated himself on solving the little crisis, and wondered if perhaps the day would turn out well after all. Little did he know that his troubles had only just begun...
     
    Go to part 3
  20. Mikkel
    Line dance, 4mm style. I’ve been painting some figures from Andrew Stadden’s excellent new 4mm range of Edwardian figures.
     
     

     
    A group in primer, showing the detail of the figures.
     
     

     
    Being pewter, the Stadden figures are a little harder to modify than whitemetal ones. It’s not impossible though. This gent had his bag removed…
     
     

     
    … making him look more like a railway employee. I sometimes file the caps to represent the GWR kepi, although photos from the 1900s suggest that in practice, several different types of cap could be seen at the same time during this period.
     
     

     
    I still struggle with figure painting. In particular I can't seem to master that illusive shadow-work - but it helps a lot that the figures are so well modelled.
     
     

     
    On most of the figures, the close-fitting headwear conveniently hides the upper face, which I find particularly hard to get right. This is driver J. Chuzzlewit, a seasoned man of the footplate and known for his rough driving, poor jokes, and fanatical interest in leeks.
     
     

     
    Here we have GWR Policeman W. Walmsley of the GWR Goods Department at Farthing. This figure was modified from a guard/inspector. It required a bit of research since little has been written about GWR police uniforms. My theory is that in the 1900s the GWR police force had lost much of its former status, and the main distinguishing marks on their uniforms were a gold patch on one sleeve, and brass numerals on the collar. Later (possibly in 1918), they started wearing helmets. See this thread for details.
     
     

     
    Detective F. Benton of the GWR Detective Department at Paddington. The GWR seem to have had a separate Detective department from quite early on. Considering the total value of goods being handled by the railway, that’s not really surprising. I’m sure there was a scam or two going on!
     
     

     
    Stages of undress. What’s the weather like today? And what task is at hand? Miraculously, the temperature at Farthing always seems to be moderate, which is why some staff wear a coat, others wear vests, and the hard-working men only a shirt.
     
     

     
    I’ve decided that this trio will serve as "slipper boys" in the GWR goods department at Farthing. Slipper boys, as I understand it, would assist horse shunters with tasks such as “scotching” wheels and handling the horse’s chains. Clothes mattered a lot in Edwardian days, and photos suggest that even non-uniformed, lower staff grades could be smartly dressed. Even so, a couple of these lads look very smart indeed. Is there something fishy going on? Watch this space...
  21. Mikkel

    Backdated Monty's figures

    By Mikkel,


    Figures
    Off with their heads! Farthing is set in Edwardian times, but good figures from this period are not easy to come by. I've therefore been doing a bit of backdating to the excellent Monty's range of 1930s-50s figures from Dart Castings. The photo above shows a rather gruesome selection of body parts left behind from butchering and modifying the Monty's figures.
     
     

     
    This lunar landscape shows my preference for blu-tacking the figures to inverted cups, so I don't have to handle them during painting. The cups give a good grip and you can turn them any way you want to get the right angle for painting. Paint and varnish is Vallejo acrylics, which are superb and work fine for me on whitemetal as long as its primed and varnished.
     
     

     
    Mr and Mrs Longbottom in trial position on the bay platform. They will shortly be joined by Mrs Longbottom's niece, who is slightly delayed due to her currently having no head.
     
     

     
    Mrs Longbottom is the result of a bit of fun figure-bashing (terrible word!). The face and upper body is from a Monty's figure (this one), with a bit of DAS modeling clay added to the hat and body to suit the style of the period. The lower body is from the Langley range of Edwardian figures, whose dresses are rather good, but whose upper bodies are a bit too stick-like for my tastes.
     
     

     
    Adding various types of beards to the figures (well the male ones at least!) helps to backdate them. This ganger is remodelled from a Monty's figure, adding a moustache made from Miliput, and with a modified hat. The latter was inspired by a similar hat worn by a ganger in a photo I have. None of your fancy bowlers here!
     
     

     
    This is the station master of Farthing. He is in fact a skipper from the Monty's range (one of the more recent additions), with the cap cut to look GWR-ish. The cutting of the coat isn't quite right, but life is short...
     
     

     
    This was originally a 1930s porter that I've attempted to backdate by filing off his pockets, modifying his cap and adding a moustache. His arm has been repositioned as he will be standing by a cart.
     
     

     
    This gentleman has had his original hat replaced with a bowler made from bits found in the spares box.
     
     

     
    This seems to be one of the more popular figures from Monty's. I've filed down his hat to represent the boaters of the period, and modified his nose just a little to make him look different from all the other ones out there.
     
     

     
    This worker is entirely unmodified, with the moustache painted on. I go for relaxed poses when I select figures, as I'm no great fan of the "frozen movement".
     
     

     
    Hmmmm, went a bit too far on the backdating there! Jokes aside, this is one of my son's plastic Warhammer figures that I painted. Now I know they're a bit larger than 4mm figures (I don't believe there's an exact scale for Warhammer - for good reason!), but they're not that much larger, and look at all that crisp detail. Imagine those production techniques applied to 4mm model railway figures! But I suppose the cost would be too high and the market too small?
     
  22. Mikkel
    Here’s a summary of the work so far on my attempt to backdate the Oxford Rail Dean Goods to 1900s condition. Thanks to everyone who has helped with advice and information.
     

     
    My model is based on a 1903 photo of No. 2487, sporting the S4 roundtopped boiler and wide footplate. Various features such as a short smokebox, large cab spectacles and "piano lid" cylinder cover will make it a bit different from the superb Finney kit models out there - no other comparison intended!
     
     
     

     
    The chassis is a good silent runner. The model comes with plain con rods and wide footplate. This particular combination was found on Lot 99 and 100 (nos 2451-2490), so is appropriate for my loco. Incidentally, some locos built with fluted rods later acquired plain ones, meaning that selected locos in the 2491-2580 wide footplate series could also be made.
     
     
     

     
    The cast footplate is also good in my view, so was retained. However the splashers and cab were discarded. The splashers are rather thin and high, and the cab is too tall for a roundtopped version. I might have accepted this on other occasions, but I wanted to see what I could do with styrene and a Silhouette cutter.
     
     
     

     
    The Belpaire firebox also had to go, and as the boiler then becomes too short for a roundtopped version, I discarded that too. The smokebox was sawn off and put aside for later modification.
     
     
     

     
    I made a new boiler from laminated layers of 5 thou styrene. Each layer was shaped by wrapping it around a former, taping it with duct tape, and dunking it in boiled water. I used a Lypsyl lip balm container as former, and stuck the duct tape to the workbench a couple of tiems to reduce strength. Next time I will probably use a single thicker sheet for the boiler, as I’m a little worried about possible expansion over time. So far however it has proven stable.
     
     
     

     
    This is the boiler test-fitted on the Oxford footplate and chassis. The Oxford chassis has a cast section representing the underside of the boiler. My boiler had to fit this, while still allowing the body to be detached if necessary. This is the most problematic part of the project. To make things easier, I built the boiler separately from the firebox.
     
     
     

     
    The cast underside of the boiler can be seen here. The join looks poor in this shot, as the boiler and firebox were still loose. The firebox was shaped as per the boiler, with a wood former for the sides. The smokebox is seen with the chimney cut off, rivets and other bits filed away, and the length shortened with a saw. For reasons I have now forgotten (must be all those designer drugs), I chose to shorten the smokebox from the rear.
     
     
     

     
    The smokebox pushed back to meet the boiler. The elegant transition between smokebox and boiler on the prototypes was not easy to get right. I did my best using a slice of the original Oxford smokebox, and a ring of brass wire. The leading boiler band (overlaid here with lining) helps too.
     
     
     

     
    The brass ring imitates the, um, brassy ring that can be seen on prototypes in the 1900s. It is a snap-fit, and won’t be finally stuck down until after the body has been painted.
     
     
     

     
    The smokebox door also needed work. Here’s how it originally looked.
     
     
     

     
    I added an outer ring to the smokebox door, and a new door dart. The ring was cut on my Silhouette cutter.
     
     
     

     
    The door was then lowered to appropriate height by carving out the lower part of the smokebox, and filling out the space above with plastic putty. The cylinder cover was filed back and will be replaced with a “piano lid” type cover later.
     
     
     

     
    The replacement splashers were made from 5 and 10 thou styrene, cut on my Silhouette, and reinforced on the inside with additional layers. I initially attempted to replicate the slight overhang of the splasher tops that can just be made out on the prototype. However it became too prominent in styrene, and was easily damaged, so I left it off.
     
     
     

     
    I made the splashers 20 x 5 x 4 mms, which is overscale compared to the prototype, but about 1mm smaller in all dimensions than the Oxford originals. As this (reversed) test fit shows, there is the ample clearance over the wheel flanges and I could probably have made them smaller, but wanted to be on the safe side.
     
     
     

     
    The boiler bands are a compromise, and possibly a mistake. I made them from 5 thou styrene strips, and deliberately made them too wide in order to fit the HMRS lining transfers. They do look rather too prominent at the moment though, and need some work.
     
     
     

     
    The body fits snugly over the chassis. So far I have made virtually no modifications to the chassis, as I want to be able to replace it without too much trouble in case of a motor failure.
     
     
     

     
    Work has now started on the cab. The sides and front were printed on my Silhouette.
     
     
     

     
    So that brings us more or less up to date. Above is the current state of play....
     
    Lastly,  a short video showing a running test I did the other day:
     
  23. Mikkel
    I thought it was about time that I finished my Dean Goods, so here it is virtually done.
     
     
     

     
    It has taken an awfully long time to do, although in fairness it has been resting untouched for long periods while I worked on other projects.
     
     
     

     
    The loco has the original twin flywheel Oxford mechanism that came with the lined pre-grouping version. Mine is a very smooth runner, which is why I found the project worthwhile in the first place. Indeed I've bought another one at a sale, which also runs very well.
     
    Below is a summary of the main steps since the first post on the project, with some further photos of the completed item towards the end.
     
    Cab
     

     
    The cab floor and interior splashers were built up from styrene.
     
     
     

     
    A cut-out was required in order to clear the motor when fitting the body.
     
     
     

     
    The cab detail is a bit quick and dirty. I found a backhead in the spares box, spruced it up a bit and moved it 0.5 mms into the cab to clear the motor. It’s too low, but don’t tell anyone. The raised floor section in the right hand side of the cab can be seen on No. 2516 at Steam, but I’m not sure if it was there in the 1900s? According to Martin Finney, cab seats were a later feature so I didn’t fit any.
     
     
     

     
    Brassmasters have some lovely Finney fittings for the cab, but I wanted to save my pennies, so modified the Oxford lever and springs to look a bit more accurate.
     
     
     

     
    The cab side beading was made from 5 thou strips, cut on my Portrait and curved gently with my warm and healing fingers. Stuck down with Limonene and secured by rolling a brush handle against it.
     
     
     

     
    Further beading and handrails were made from wire. 
     
     
     

     
    The cab roof was built up with four laminated layers, here are the first two (10 + 5 thou).
     
     
     

     
    And the uppermost two (2 x 5 thou). 
     
     
     

     
    The join between cab and boiler was also built up piecemeal, very close to the spectacles as per my prototype. 
     
     
    Fittings
     

     
     Handrails were fitted using my well established formula: "Measure once, drill thrice !".
     
     
     


    Boiler washout plugs from Coast Line Models. Alan appears to have temporarily withdrawn these, I hope they’ll return. 
     

     

     
    I fashioned a new reversing lever, and fitted a loco jack from the Broad Gauge Society.
     
     
     
     
    Photos of the uprights on which loco jacks were mounted during this period are rare, here's a crop from an image I found (left). Also a standing version, which I suspect was an earlier arrangement.
     

     
     
     The curvy “piano lid” cylinder cover was a feature of some locos during the short smokebox period. They were sometimes left in open position while running! Fittings on the smokebox side were cobbled up from bits of brass. 
     
     
    Chassis
     

     
    The loco chassis required very little modification, which means it can be easily replaced in case of a major failure. However, an indication of the ash pan and nearby components was needed. So I nicked Coachmann’s idea and made a simple screw-on unit.
     
     
     

     
    Later the ashpan was painted and Archer's rivets applied.
     
     
    Tender
     

      
    The Oxford tender is generally a good representation of the 2500 gallon variant, but various mods were needed to backdate it to 1900s condition. First, the fenders were cut off using a scalpel, and the area was filed clean.
     
     
     
     
     
    The protecting plates at the rear and front were too high for my 1900s prototype, and were therefore filed down to appropriate height and shape.
     
     
     

     
    I left the casing for the water filler untouched. Subsequent discussions suggest that the shape may have been different during this period - but I will leave it for now.
     
     
     

     
    Next up were the coal rails. I first tried cutting some 10 thou Evergreen on my  Silhouette cutter. It looks OK here, but as might be expected it was just too flimsy.
     
     

     
     
    Instead I used wire from Eileen’s Emporium, halfround as per the prototype. I considered soldering but thought the joints might come undone every time I applied heat, so used epoxy. The result is quite solid. 
     
     

     
     
     The uprights were fitted into holes just inside the flare of the tender sides, taking care not to break through the sides. I think the top rail sits a trifle high. Ah well.
     
     
     

     
    Photos suggest that most of the fittings at the front of the Oxford tender are not appropriate for my period.
     

     
     
     
    Replacement toolboxes and air vents from Brassmasters (ex-Finney) were fitted. Maybe the latter should be smaller on a 2500G tender, not sure. Sandboxes were cobbled together from bits of styrene.
     
     
     
     
     
    The front steps of the early 2500g tenders had an inward curve. A couple of round files solved this. The plastic protects the chassis from metal dust.
     

     

     
    Here is the result. 
     
     
     


    The finished tender (less brake gear).
     
     
     

     
    Loco and modified tender.
     
     
    Painting and lining

    The loco in primer. 
     
     
     

     
    After recovering from an "orange peel" disaster I got the paint job done. The green is Vallejo 70.850 with a touch of black (5:1), the red is 70.814. 
     

     

     
    Lining was done with HMRS Pressfix transfers.
     
     
     

     
    One side done. The triple panels on the tender were tricky.

     
     

     
    Halfway through I ran out of lining, and discovered that new HMRS lining sheets are a different colour from the older ones.  The samples above show the old sheet, and three new sheets. The latter came directly from the HMRS, whose own illustration still shows the older shade. A Fox sheet is also featured. In the end I cobbled together the remaining lining from an old sheet, using 26 pieces for one cabside . It does show in places.
     
     
    Final details
     

     
    Cab windows were made by filing and sanding the teeth off watchmaker's cogs.
     
     
     

     
    The glazing was cut on my Silhouette cutter.
     
     
     

     
    Not perfect, but I can live with it.
     
     
     

     
    Bit of fun: The Oxford model comes with a choice of coarse or fine screw link couplings (bottom two).  I modified mine by adding a “Tommy bar” (top), fashioned from a part that I found in my box of watchmaker’s spares.
     
     
     

     
    A last few shots of the loco. Photos of 2487 and some other Dean Goods shows the safety valve slightly off-set from the center of the boiler band, so I copied that. Annoyingly I forgot to add the safety valve lever. Too late now, I can't get in there to fit it properly.
     
     
     

     
    The big compromise is the seam line in the boiler, although I only notice it from certain angles. I  had planned to distract from the join by carrying the lining all round, but experiments showed that it had the opposite effect, so I left it off.  Were I to do it again I would give more attention to matching the angles of the two edges as they meet, which could have been better.
     
     
     

     
    Still, I'm happy enough with it. The short smokebox and piano-lid cylinder cover makes it a bit different from available kit versions. No other comparison intended! 
     
     
     

     
    So that's about it. Loco lamps and crew are on the workbench, and I need to fit couplings bars between the buffers. I also need some work plates, the one seen here is a stand-in of unknown origin. Does anyone know a source of 4mm works plates?
     
     
  24. Mikkel

    Barrels, baskets, bales

    By Mikkel,


    Goods
    I’m still working on the goods items for my goods depot. Here’s a selection of various items I've been working on recently. Apologies for getting a bit long-winded with this, but I enjoy learning a bit about goods items as I go along – it’s all part of the scene, after all.
     
     

     
    H0 and 0 casks from Frenchman River Works. Great texture and six hoops, which is rare on model casks despite being very common in reality.
     
     
     

     
    The FRW barrels again, now painted. At first I thought they were too rickety for an Edwardian goods depot, but then realized that they represent “dry slack” casks with wooden hoops as used for fruit, tobacco, nails etc - as opposed to “dry tight” casks for eg flour and salted products, and “wet tight” casks for beer, wine etc. Slack casks were typically of inferior materials and workmanship, and were often only used once. An interesting topic in itself, see eg this website.
     
     
     

     
    White metal beer casks from Dart castings. They are reasonable mouldings, but do require some work on the mould lines and flash. This particular type represents Firkins. The whole topic of unit sizes is fascinating but bewildering. For example, a wine and beer Hogshead were not quite the same, and a particular cask unit could be either fat or tall.
     
     
     

     
    The Dart casks after painting. Pins on the extreme left, the rest are Firkins. The light ones are work in progress. There’s a slight “Warhammer” look to these casks, but then these close-ups are very cruel.
     
     

     
    Prost! Large beer casks from German Kotol. I’m a bit ambivalent about turned wood barrels: The wood grain is often too large for 4mm. Translated to 4mm I would say these are roughly equal to a Butt (a word of advice: don’t try to Google butt and beer in the same sentence!).
     
     

     
    These lightly modified casks from Bachmann have a nice feel to them, and unlike many other model casks they actually have a bung hole (don’t Google that either). (update Feb 2021: Latest versions don't have the bung hole). I’m thinking they are Hogsheads. Hoops can be hard to paint neatly, so I painted some masking tape in a rust colour, and wrapped it around the existing moulded hoops. Oxidization of the hoops seemed to happen very quickly on new barrels.
     
     
     

     
    The Bachmann casks in place. Most 4mm casks only have four hoops, and at first I thought this was wrong for the larger types of casks. But photos from GWR goods sheds reveal several examples of casks with just four hoops, apparently irrespective of size and date. See GWR Goods Services Part 2A pages 6, 55, 59, 63, 92, 102, 163. On the other hand, there were clearly also many six-hooped barrels in Edwardian days, see eg the wonderful photo on p. 68 of the same volume. So both types would be appropriate, it seems.
     
     
     

     
    On to baskets. These wicker baskets are also from Hornby, now sadly discontinued. There are long debates about Hornby on here, but some of their goods items are fairly good - design clever, in fact!
     
     
     

     
    Gem whitemetal pigeon baskets (ebay seller’s image). At first I thought they were missing the external louvres for light and air that are evident on latter-day types. However, a bit of research suggested that some early types were in fact quite similar to the Gem offerings. See for example this drawing.
     
     

     
    It seems this type of pigeon basket was closed with straps, so out came the masking tape again, painted and folded to look like straps. Incidentally, for 7mm modellers Skytrex have some pigeon baskets in their large range of goods items.
     
     

     
    Hen’s teeth. After much searching I managed to track down this discontinued Preiser H0 “kit” for produce baskets.
     
     
     

     
    Painted hen's teeth. Photos from the 1900s show baskets of various sizes in goods sheds – both full and empty, and not just in large quantities but also individually or two or three together. The cabbages are a loose fit so far, would they have been covered with something during transport?
     
     

     
    Unsung hero. The humble goods sack, illustrated by a rather good whitemetal example from Dart Castings.
     
     
     

     
    More white-metal sacks from Dart Castings, now painted. I might make some more of the flat, stacked ones to my own design. When I was boy playing with toy soldiers, I made sandbags from clay and loo paper.
     
     

     
    I wanted some wool bales and decided to make them myself. I began with this type. Finding the right fabric is tricky. Hessian and similar materials looks overscale in 4mm. I ended up with a thin, soft and fairly tightly woven material for making sheets. It was wrapped around a length of plastic rod (several rods laminated to get the right shape), and fixed in place using Loctite Powerflex. The ends are individual cut-outs of fabric, soaked in glue and smoothed tightly to the rest of the bale, giving the impression of a seam.
     
     

     
    The rope was simulated by sewing thread. The thread was sewn to the bottom of the bale, wrapped around, sewn again to the bottom, etc. My wife watched with a strained smile, I suppose she would have preferred me to take up sky-diving.
     
     

     
    Despite pulling the thread tight, I wasn’t too successful in achieving the bulge between the “roping”. Experiments with a soft “core” of cotton wool didn’t seem to help. This is the best I could do for now.
     
     
     

     
    Next up was a different type of bale, the pressed ones illustrated here.I used the same fabric, but dyed it using an age-old technique: Dunk it in Carr’s sleeper stain and weather with baby powder. Apparently, manual bale presses were in use well before the turn of the century.
     
     
     

     
    To get that bulging look, I wrapped the fabric around H section plastic rod and stuffed it with cotton wool. More manly pursuits!
     
     
     

     
    The bales in place on the mezzanine floor. I'm not entirely satisfied. Even this fabric looks overscale in the texture. But I'm tired of fiddling with them, so apart from a bit of weathering this will have to do.
     
     
     

     
    Inspired by Nick’s cider boxes and Job’s whisky crates (many thanks gents!), I’ve experimented with making small crates from folded paper. I found some photos of this attractive Coleman’s crate on the web, allegedly correct for the period. The photos were scaled down, edited, and printed. As this is supposed to be a wooden crate, I glued the prints to sections of plastic rod in order to avoid the folds and sagging that would haved suggested a cardboard box. As far as I understand, cardboard boxes where only just coming into use as transport containers around this time, and I can’t recall seeing any in photos of 1900s goods sheds (but please do correct me if I’m mistaken).
     
     
     

     
    The Coleman’s crates came out OK, but most small crates of the period had an unpainted natural wood look which I find difficult to create in paper. So I’ve now ordered some paper-thin wood veneer that can be used in inkjet printers. Should make for an interesting little experiment.
     
    Edited Feb 2021: The barrels that I originally referred to as Hornby seem to have actually been from Bachmann. Note that I have since purchased some more of these, and the bung hole is no longer modelled. Oh, the woes of this world.
  25. Mikkel

    Blue skies and horse traffic

    By Mikkel,


    Stories
    It is afternoon in the Overbourne bay at Farthing station. The all third "strengthener" rests in one of the sidings, while a worker from a local cartage company is lost in thought. The coach reveals that I'm still in the process of fitting couplings to some of the stock.
     
     


     
    The regular branch engine No. 1961 of the "850" Class shunts a horsebox to diagram N5 into the horse dock. The horse seems nervous at the prospect of travelling inside a box on wheels. Perhaps in reality horses were not brought to the loading dock before the stock was in place?
     
     
     

     
    Horse and groom wait for the staff to open the doors. The horsebox is from the old Colin Waite kit. The busy horse traffic around Farthing was inspired by the Newbury area and the DN&SR and Lambourn lines. I had no end of trouble finding a suitable racing horse as most available OO horses are either in full harness or just too poorly moulded to work with. So I ended up with this Noch example, to which I added just a bit of filler in strategic places, and a horse rug (is that the word?) made from toilet tissue. The horse is HO, but I think it works OK if we assume it's a two-year old!
     
     
     

     
    Meanwhile No. 1961 continues its work. The C10 "strengthener" is drawn out of its slumber for use on the busy late afternoon service to Overbourne, which always draws a good number of passengers arriving on the ex-London services or having spent the day in Farthing. The coach is a Triang RTR conversion job (construction notes here) and this photo is rather revealing of the various compromises involved. While I do like RTR bashing, in this case I've got an almost finished kit-built coach waiting in the wings as a replacement.
     
     
     

     
    The "strengthener" is coupled up to the standard branch set waiting in the platform, while a couple of well-to-do passengers watch with detached interest. The wicker baskets are from Hornby and are the only items on the layout that were used straight out of the packet. The baskets are very good in texture and colour, although a couple in my packet seemed to have slipped unduly past quality control.
     
     
     

     
    Next up in the formation is the horsebox, now containing horse and groom, and seen here being coupled up to the rest of the train. Horseboxes tended to travel next to the loco at the front of the train, although I've forgotten why. Was it easier on the horses that way?
     
     
     

     
    Every afternoon of every day, Miss Agnes Wilkinson sits on the bench at the end of the platform, hoping to catch a glimpse of driver T. F. Oberon, the lost love of her lost youth. He ignores her today as he has done for the past 45 years, but Miss Wilkinson does not give up. Tomorrow she will be back on the bench, for she knows that some fine day Mr Oberon will yield.
     
     
     

     
    The Overbourne train is now made up and ready for boarding. It really is a very clear day today - so clear in fact, that the entire town above the embankment walls has disappeared into thin air. Still, it beats having our cluttered basement as a background!
     
     
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