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| Design and Manufacture of Fine Scale Models by John Hunter and Laurie Green |
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TOOLS & TECHNIQUES |
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In this clinic I’m going to show you how you can achieve this contest award winning standard in your work, and show you just how easy it really is. You should be able to reach a standard that is your best, maybe not on your first attempt, but with a little perseverance, some basic simple techniques, a few tools and the right materials, you should be able to build structures that will stand up well in any model contest and of which you will can be very proud of. Talk to any of the guys who have models in the contest room and they will tell you they didn’t start off in this hobby building models to the standard you see in there. We have all made a start, some of us a lot of years ago, and have learnt through trail and error, attending clinics like this, reading magazine articles, talking to our fellow modellers, etc. and have slowly improved our skills and techniques. We all have plenty of skeletons of models hidden in the dark recesses of a locked cupboard somewhere that we don’t want anyone to see! So don’t be disheartened if your first attempt isn’t as good as you would like it to be. Just keep trying and you will improve. |
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MY TOOLS
I don’t use many tools, and none of them is out of the ordinary. Most of you would already have them in your tool box. We all have our favourite tools, and we guard them with our life. In fact I think I will get buried with mine just in case!
These are my most important tools, and with these I could build almost any model with just these few. They are:
A No.11 scalpel handle and blades (or any suitable sharp modelling knife) A good set of steel tweezers Pin vice and set of fine drills Because I am a compulsive weatherer of my models, I have quite a range of weathering tools that can do some very horrible and brutal things to wood and plastic (and you’re fingers if you are not careful). The main ones are:
A rust removal wire brush in a 1" dowel handle - (available from auto shops) An pointed dental probe 0.5 mm Fineliner pen Well, that’s it! Not a lot of tools are required, and none of them are expensive, and the whole lot could fit into a large pencil case. |
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I primarily use an aliphatic resin yellow glue like ELMARS when gluing wood to wood. I pour a small amount into a film canister lid, and use a tooth pick to apply the glue. Other glues that I use occasionally are ACC (Superglue or Loctite), and Selleys KWIK GRIP™, which is an acrylic adhesive – it's great for attaching metals such as corrugated aluminium to wood or cardboard and is available at most hardware stores. As well I use a styrene cement for styrene to styrene. |
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MATERIALS
Other materials I use are the standard stuff that we all use, which can be seen opposite. Clear styrene, Evergreen styrene sheet and strips, cardboard, various types and thickness of paper, scale corrugated iron, and brass rod, strip and sheets. PAINTS
I
do use a couple of thinners based paints because I can't get the
equivalent in acrylic, mainly a red and a blue by
HUMBROL™
(an English based hobby paint) that I use for my rust effects
and several types of automotive spray undercoats. |
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STAINED, WEATHERED & PAINTED TIMBER MY No.1 TECHNIQUE
I always individually distress, weather and age all my timber before it is assembled. This gives every piece an individual look rather than a bland even look if you do this after the model is assembled. While this can strain the patience sometimes, the results are well worth the effort. You don’t need anything exotic to achieve this special finish. The method I use is a three step process. Step 1 - AGEING THE TIMBER With every piece of timber I use, I drag the fine
Exacto
saw blade down every face (except on fine sections) I do this to impart a
weathered grain effect, to break the smooth surface so the stains with
soak in well, and to achieve a surface that chalks and paints will adhere
well to. I also attack the end grain with the file brush to obtain the same effect. The more you drag the brush over the end grain, the deeper the grain will become. If you are feeling really nasty, you can take to any of the surfaces with the rust removal brush. This is great on end grain, but can sometimes make the other surfaces a bit furry. My favourite and most used tool, the surgical no.11 handle and blade
can now be
It’s time now to use the dental probe. You can impart deeper grain by dragging the point into the timber, especially on the bottom of boards where the timber is rotting away and where the ‘V’s have been cut. This tool can also be used to add knot holes by pushing the point in vertically and  twisting around. The grain lines around the knot hole can then be added. Nail holes can be added the same way Step 2 - STAINING THE TIMBER My basic wood staining material, which I use to stain all my timber
components with, is a mixture of inks and rubbing alcohol.
That's a ratio of 1 : 1 : 40 An eye dropper, also available from the chemist, is ideal for this job. The final colour is a personal preference, and can depend on the species of timber you are trying to simulate, and onto which sort of timber you use to model with. This mixture works beautifully on “Mount Albert” and “North Eastern” timbers. You can also add more SEPIA than BLACK to the base stain to get a warmer stain or add more BLACK than SEPIA to the base stain to obtain a cooler grey stain, or add more alcohol to lighten the stain. I also mix up a small jar of darker stain by adding more of the brown and black, which I to use to dip the ends of boards in to simulate rot caused by water and other weathering effects Now that we have the basic stain ready to go, using a cheap 10 mm wide chisel brush, slop the stain on every face and allow to dry. Because it is an alcohol base, it’s dry in about 15 minutes. Step 3 - THE FINAL AGEING
First, holding the pencil at a low angle to use the long edge of the pastel lightly drag the pastel over the face of the timber. You don’t have to be perfect here as we want an un-even covering. When all the faces have the white added, use the black pencil the sane way to add darker areas of rot, especially on the ends of boards and around knot holes. As a final effect, use a black 0.5 Fineliner pen (from newsagents, art supply shops and drafting supplies ) to highlight knot holes, deep grain, nail holes and the edges of split timber. A SPECIAL EFFECT
ROUND TREE PILES
The dowel can be now be stained and pastels applied as described earlier. For piles in a wharf scene, a thin strip of paper can be painted brown, dusted with rust powder and then glued around the pile, close to the top. An orange pastel pencil can then add some new rust runs. PAINTED TIMBER Painted timber can range from a fresh coat that totally covers the timber right through to a few flakes clinging to a few sheltered spots. To achieve this variety of effects we need a variety of methods.
The easiest way to achieve a weathered paint effect is to dry brush the boards with paint. This entails dipping a flat chisel artist brush into the paint, wiping most of the paint off by lightly dragging the brush over some paper until only a small amount of almost dry paint remains. Then start to drag the brush down the grain, starting from the top of the board where the paint is less weathered. Less paint should be applied at the bottom of the board. I always apply a first coat of a slightly darker colour first, then come back with a lighter shade and pick out various boards. This colour is also used under eaves or areas where the paint is protected and thus not as weathered.
Using a scrap piece of terry-toweling material (used in bathroom robes and hats), place over your index finger and hold tight. With a large brush apply some paint to the tip and then lightly dab onto the boards. This is the one time I apply a method after the wall has been assembled. Every so often change the position of the cloth to a fresh area and continue to apply the paint until the desired effect has been achieved. after you have dabbed the required area, use a thick paint and a small brush add some small areas of solid paint, especially in sheltered areas where no weathering has occurred. NOTE: Any of these methods can be combined or overlapped, it just depends on the result required. The best way is to try some test samples WEATHERING CHALKS
I have as well collected a series of other chalks from various manufactures that I keep in a set of small plastic draws (the type sold to hold small screws or other hobby stuff) and use these when I need that special colour. |
| Earlier in this clinic I described how I weathered, stained and aged timber. Now I'm going to describe some of the other techniques that I use when building my structures. |
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WEATHERING METAL One thing you will always find around a railroad yard and old structures is rusted metal. Even the most well maintained metal will show some sign of deterioration. Over the years I have tried many methods to achieve a realistic rusted metal effect. Some worked really well, others were only reasonable. The latest method, seems to give good results most of the time. SMALL DETAIL PARTS Small parts such as nut/bolt/washer castings, small pieces of styrene, paper and almost any other material can be made to look like rusted metal. They are painted with a black or dark brown paint, and when dry, dusted with powdered rust or rust coloured fine chalks. Commercial tile grouts also have some good rust colours, and work well. It is a little bit courser than the chalks and often needs 'Dullcote' applied to ensure it stays where you want it too. CORRUGATED IRON
FOR A NEAR NEW EFFECT
FOR A WEATHERED EFFECTFor a more weathered effect, but when the sheets are still in reasonable condition, apply more of the chalk powders (the best I have used are made by BRANGDON ENTERPRISES). Vary the amount and colour on each sheet, as corrugated iron does not age uniformly. This effect can be seen in the photograph above. FOR A REALLY WEATHERED EFFECT Allow the sheets to etch to the stage where the edges are starting to be eaten away and holes start to appear in the sheet. Wash in water to stop the etching process. Instead of painting the sheets with aluminium, I now use a dull red and dark blue paint (I use Humbrol™ Wine Red #73 and Oxford Blue #104, but the choice is yours as to what brand you use). With both cans open and a 1/4” chisel brush in hand, dip into the blue paint and apply onto the sheet, and with the brush still wet, dip into the red and over-paint the blue. Vary the amount of red used on each sheet so you get a variety of colours from red through purple to blue. When all the sheets are painted and allowed to fully dry, brush on various coloured rust powders, varying the coverage on each sheet. Again, the best I have used are made by BRANGDON ENTERPRISES. Finally, with a lighter ochre coloured powder, dab on blotches at random to represent areas new rust. Don’t over do this effect, and leave some sheets without any. The object is to achieve a set of sheets that look similar but have subtle differences in colour and rust spots. SHEET METAL
In fact, anything can be made to look like a piece of rusty old metal using the methods outlined above. Check out some of the examples below. 
Other materials are used for roofing. One of the most common used is tar paper. There are several methods, each with its own particular use. CAR ROOFS: Many of the rolling stock that we model have tar paper on their roofs to keep the weather out. When the model is ready to have the tarpaper added, I paint the roof with a matt black paint. When this is dry, I paint a thick layer of PVA white glue over the roof area, and then gently lay one ply of a normal tissue over the glue, being careful not to tear the tissue. You can gently push the tissue into place, but leave the tiny folds that appear. This simulates the aging effect of the tar paper. Because the tissue is so thin it allows the black paint to show through to different degrees and achieves a varied areas of colour from dark grey to white. This method can be seen on the structure above.
I cut the paper into 4 foot wide strips to the required length of the wall or roof, and with 80 grit sandpaper, sand the outer face to thin it down, as well as rough the surface. Don't worry if you crease the paper, as the next step is to hold the paper with both hands and place creases over the sheet. The sheet can now be torn across at an angle or an edge torn away or to any shape that looks a well weathered piece of tarpaper. If you want holes in the sheet, drip a large drop of Superglue onto your sanding surface, allow to dry, place the sheet of paper over the blob and sand until a hole appears, as can be seen below.
IN SMALLER SCALES (like HO and N) tar paper can be simulated with masking tape, by simply applying the tape and painting to the desired colour and applying some weathering chalks.
I used to use a paper guillotine and sit for hours upon hours cutting and applying 1000's of individual shingles to a structure (my Rico depot had 6000 on it), but no more. I have recently purchased pre-cut paper shingles from 'PAPER CREEK MODELS'. They come in a letter sized sheet and are well printed on heavy paper and laser cut in the normal random effect of real shingles. They are a delight to attach to a roof and give a great effect. I doubt if I will use any other method after these. I bought mine through their website and you can reach this site by clicking on the link above.
FINAL
EFFECTS Rain and other weathering effects will form runs of rust from things like nails and bolts, vertically down walls, posts etc. To simulate this effect, you can use a mid-brown artist water colour pencil. Draw the lines of rust onto the object and with a fine brush and clean water, soften the lines by drawing the damp brush down them. Further runs of new rust can be added over the top of this and left as streaks. The orange pastel pencil by CONTÉ is perfect for this . |
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SIGNS, FIGURES & OTHER DETAILS Nothing sets of your model like figures, vehicles, signs and other details. They set the era of your model, and add interest and focal points, as well as bringing your model to life. But beware, models can absorb figures at an alarming rate. My recent model of a sawmill used over 20 figures and looked like it needed another 20 to complete it—and they are about $6.00 each before you paint them! The small scene below of half of my McPhee Lumber Company's Maintenance Shed' has five figures and a dog in it. The complete model features 10 figures.
FIGURES I try and place my figures in pairs or threesomes, and use figures that are in a relaxed pose, normally as if they are having a quiet conservation. I stay well clear of figures that are frozen in some sort of action. The closest I come to an action posed figure is one walking. I use single figures only if the pose permits, such as a figure leaning over looking a some machinery or some other detail. All my figures, which are normally white metal castings, have two 'PECO' track pins inserted one in each leg so I can stick them into the foam scenery. I will place the figures near areas of the building that I want to bring attention to. With the pins I can try the figures in slightly different positions until I am happy. They can also be easily moved about if you are doing a photo shot of the model. Like all details, do not over do the number of figures. VEHICLES Like figures, vehicles are a real attention grabber on any diorama or layout and should be positioned at important focal points. It is a good idea, if practical, to point the front of the vehicle at the area of the model you want to viewer to focus on, as this will lead the viewer to where you want them to look. Combined with figures, vehicles are our most important additions to dressing up our models. SIGNS
I collect signs, mainly from pre-WW2, and either purchase them commercially, obtain them of the Web, take photos of real signs, get them out of books and magazines or swap them with my fellow modellers. I scan them all into my computer, which means I know where they are when I need them, as well as being able to browse through them, and can print them out to what ever size I require them. With this method I am also able stretch or contract them either vertically or horizontally to suit the space I have on the model. There is also available rub on lettering that you can use to make up your own signs or business names on your structure. Finally, if you are really confident, you can hand paint signs or names onto your structure. To age or weather printed signs rub them lightly with a fine sanding stick, grey the edges, add rust streaks with the water colour pencil and even push holes through them. Nail holes are also a nice touch, as does folding a corner over. If the back of the sign is seen, paint the back of the sign with a flat aluminium paint and add some rust coloured chalk. SIGNATURE DETAIL PARTS
OTHER DETAIL PARTS
LEADING LINES All the above details, plus things such as fences, logs, rows of bushes etc. can be used to direct the viewer to the areas of your model that you want them to see and stop them from straying onto the next model next door. The longer you can hold their attention, the better your model will seem to them. AND FINALLY Have a friend, who has a good critical eye, have a good long hard look at your model and then point out things you may have missed or query why you have done a certain things, or suggest things that you can add or change to improve the model. Being so close to a model while you design and build it, it is very easy to miss things or not consider things that will really improve your model. AND NOW IT’S YOUR TURN . . . None of what I have described in this clinic is new, and none of it is terribly hard, in fact most of the techniques are very easy to do. Give them a try and I'm sure you will be surprised at what you can achieve. |
How
many of you have walked into a model contest room at a convention like
this and have thought to yourselves “Gez, can these guys walk on
water as well!” And you then leave shaking your head and muttering
to yourself that you could never achieve that standard. Also, when you are
looking at these models you realize that they have got that
something extra that looks just right, but you aren’t sure what that
something is or how to achieve it!
The brand of
inks I use is made by 
To give the dowel a well grained weathered effect you can use a course
rasp to deeply grain the face. Because I use a lot of this dowel in my
structures, I have mechanized the process. I purchased a 4” brass wire
brush and collet from the local hardware, and inserted it into my 240 volt
drill. I then fitted the drill into a jig with a table and guide where the
brush just pocks through the table. With ear plugs in and safety glasses
on, I turn the drill on and drag the face of the dowel over the spinning
wire brush, slowly rotating as I go. The longer you hold to dowel over the
same spot, the deeper the grain effect. The end of the dowel can be done
the same way.
I kept the main colours in wide flat re-sealable boxes so I can hold the
part over the chalk, dust it and allow the excess to fall back into the
box. This keeps the chalk from getting over every on my modelling table. I
normally apply these with a short stiff brush.
This is usually pressed aluminum and comes in 8 feet or 10
feet long sheets by 24 feet long. I always cut it into approximately 3
feet wide sheets. The aluminum sheet that I use is manufactured and sold
by 
Remove the sheets from the
A lot of flat sheet was used on structures, as well as
being used for roof edges, capping and guttering. A great base material to
use for this is artists water colour paper. It can be purchased from all
art supply shops and comes in a large sheet for about $5.00. Cut to the
required size, and paint with the aluminium paint or the red and blue paint
depending on the effect required. Dust with the rust powders to match your
roof effect. Where you need to bend this paper for things like roof
capping, score about a third of the way through with a knife and bend over
a straight edge. The finished effect can be seen opposite on my
When your sheets are to this stage, I use a large flat
brush and apply a beige chalk and grey chalk over the entire surface to
weather the matt black of the paper. The final effect is achieved with the
