Category Archives: Finescale

Fear of change?

Chris Mears has made an interesting post – not that he does any other sort – picking up on discussions about what it would take for P87 to become established in North America.

My understanding is that “code 64” wheels and P87 wheel and track components are available for freight and passenger cars and diesel engines, but steam is a different matter. Also, it isn’t just about the wheels and the track: with scale wheels, the truck frames can – and arguably should – be brought slightly closer together. In a reply to Chris’s post, I touched on the fact that what it needs is for someone to actually get on and do it. The biggest obstacle seems to be fear of becoming a “lone wolf”, unable to run stock on friends’ layouts and vice versa. That is a poor excuse, as most of us have more equipment than we need, so why not have a few extra items to the other standard? This enables the P87 modeller to run finely detailed engines elsewhere, and encourages the H0 modeller to have a go at P87. For passenger and freight cars, it may be as simple as having a few spare trucks and swapping them over now and then.

I can think of several possible subjects which be ideal candidates for a reasonable P87 layout that would not be too demanding, yet interesting enough once built to enjoy operating them. Some are real, some are models, and some are inspired by the approach taken to modelling a real location. All bar one have relatively few turnouts and require little in the way of equipment: if modelled in the diesel era (which might be stretching things a little for a couple of the suggestions) then re-wheeling would be neither expensive nor time-consuming.

The obvious candidate would be Port Rowan, or Port Dover: already done in S as we know, but in the same space a model of Port Rowan station could be modelled more or less to scale length, with a longer tail track than Trevor Marshall could accommodate.
Another prototype-based model line which lends itself to adaptation for a P87 first layout – not least because it can be built in a modular fashion of discrete scenes, as confidence builds up, is James McNab‘s Grimes Line. (Yes, two links: one for the blog, the other for the site)

A couple of Eastern Seaboard prototypes come to mind, partly because I have already mentioned them on my own blog, are the North Stratford RR and the Edgemoor and Manetta.

For a trio of Proto-freelance layout ideas, two small and one moderate – and the small layouts could be connected to the moderate – then I think there is serious potential in some (or all, if you are brave enough!) of Mike Confalone’s Allagash Railroad. The rickety track and backwoods nature of what is now the Andover branch is a great starting point (the video demonstrates the rapid starts and stops of an Alco RS3, together with DCC sound). The original “Woodsville Terminal” layout, being a long, thin shelf, is relatively straightforward to fit into a house, or as a portable layout built in sections: UK practice would fit this onto four sections 48″ long, pair for storage face-to-face. The Regis Paper mill at New Portland is anther candidate for a small but satisfying start in a limited space. But New Sharon Junction, with the branch and the yard, wold make a great centre-piece for a moderate layout in P87, especially if there were a few yards of carefully crafted scenic running either side of the main station, and if there is room for the branches for pulp wood (off the “Atlantic” branch on the plan) and the paper mill (as is, coming off Carrabassett Junction) – indeed, one could supply the other. Staging at each end for a small number of trains would provide for a very satisfying scheme, capable of leisurely solo-operating (one train at a time) or a handful of friends coming round for a full-session with trains on the main, the branches, and a switch job in the yard. He has published some e-books, available from the MRH site, which I can thoroughly recommend (usual disclaimer).

Finally, what about Ryan Mendells’ Algonquin Railway? A perfect example of a layout design which could be used for a P87 layout.

The only thing a P87 requires more of than a “standard” H0 layout is time: a few hours extra to build the turnouts and plain track (if ready to lay flexi is not acceptable – it can always be replaced, piecemeal, at a later date) and a bit more time putting in new wheelsets. But even the latter is good practice, standardising on a single tyre profile is the first step to better running and using P87 sorts that out – otherwise, it is better to standardise on a single manufacturer and make sure the track matches it (so doing it properly probably requires hand-built – or at least hand-tuned – turnouts anyway). All the extra detailing is likely to be of interest to anyone prepared to consider P87 in the first place.

The rewards are immense: a railway that looks and runs like a real one.

So, what is really holding back P87? I suggest inertia, not of the physical kind, but of the psychological variety.

The Joy of 1366!

Once in a while, you come across a really interesting discussion on the net, and very recently I stumbled across a lovely thread on the RMWeb forum, where one of the members is recording part his recent switch to 0 gauge (7mm:1ft, or 1:43.5 ratio). Because he is sharing his progress, his trials and tribulations as well as his success, there has been a lot of great support and advice offered, as well as humour and friendship. It is a great advert for the web, but I was particularly taken with this post, where Chris describes the “learning opportunities” provided by a kit for a GWR 1366 small pannier tank. To quote him directly:

The 1366 was a steep learning curve/baptism of fire. It would have been very easy to have given up at multiple stages but perseverance and determination generally won over lack of skill and the right tools. I have invested in a few more tools but what I have is still just a step up from basic. This does mean I have to think carefully about the solutions I come up with – those with fully fitted workshops will no doubt be able to turn out more elegant things quicker but it’s not a race.
I’ve said this before but the 1366 has done more to move my skills on than a simple straightforward kit. It has sorely tested my resolve and, despite the current trial separation, will be completed once the confidence has been restored with a few completed projects under my belt.
The main things I’ve learned though are that it’s fairly hard to hurt brass and NS with solder. If something doesn’t work take it apart, clean up the bits and have another go. Keeping the areas to be soldered together clean and well fluxed is important. Most important of all is that you won’t gain skills over night: they come from having a go and keeping trying until you find what works for you. What works will be different for everyone and personal preference comes in.

“Most important of all is that you won’t gain skills over night: they come from having a go and keeping trying until you find what works for you.”

Wonderful.

Simon

OCE – Three Steps Closer to Perfection

Have a look at this simple, beautiful picture:

wpid-x80w-lynnvalley-4sd.jpg
Picture reproduced by kind permission of Trevor Marshall
Just a train running through some woodland, next to a river, right? Yes. And also, no.

Yes: it is a train; there is woodland; and there is a river.

No: it is not just that; it is not even a simple case of the whole being more than the sum of the parts. There is more to it than that. But not too much more, and best of all, these are basic principles, attitudes and activities which can be applied to any creative activity, but which lie at the core of “finescale with feeling”.

  1. Observation – This could also be called “attention to detail”, in that it is about identifying the detail points in the prototype: the slope of the embankment (“fill”, if you are North American); the texture of the grass and leaves; the size and shape of the trees; the correct details on the train. If you get this stage wrong, then the result cannot be “closer to the prototype” and I would argue that it is not finescale. To get this right, spend time observing.
  2. Composition – How best to arrange things. Not as simple as it might seem. The prototype often disappoints in this respect: notable painter Constable altered the arrangement of the real world to improve his famous picture, “The Haywain”. Trevor has written some interesting musings on his composition of the Lynn Valley, and of course has put them into practice, too. There is a large element of “love of subject” here, as the aim is to make subtle adjustments to the real scene so that the model displays it all in the best light. This is feeling. To get this right, spend time immersed in information: books, photos, videos, site visits, and then play around with plans, card mock-ups, etc.
  3. Execution – The quality of workmanship. A high degree of skill is required (the hallmark of finescale) but also the care of that workmanship – back to feeling – makes this a believable representation of the real world, even if it isn’t an exact copy of a real place. This is true finescale with feeling. To develop and hone a skill, spend time getting a feel for tools and materials.

None of this comes automatically, except maybe to the very gifted few. Not all of us can reach the high standards displayed by Trevor, but as the major requirement for each of Observation, Composition and Execution is simply time, we can all try at our own pace, and each of these can be practised whenever and wherever desire and opportunity coincide.

At the end of the process, what do we see? Just a train running through some woodland, next to a river...

Finescale: an attitude of mind

The word “finescale” is often banded about in model railways, without any clear meaning and sometimes as a term of abuse. As far as I am concerned it has a fairly simple definition:

“Making models look more like the real thing.”

That’s it. Proportion, shape, colour and texture are what it is about. Finer track standards and fine detail are a consequence of this approach, not the driver of it.*

Proportion and shape are closely related, of course, but essentially if a model doesn’t “capture the essence” of it’s subject matter, then no amount of work on fine details, etc, will redeem it.

Colour needs to reflect the muted effects of the atmosphere: muted, slightly duller (satin instead of gloss, everything else matt or dull) and considered use made of a restricted paint palette. Use of a “unifying tint” helps – I used to favour adding a drop of “BR coach grey” to all my tins of Humbrol paint.

Texture is less easily defined. Again, understatement is the key. It needs to be fine, not overdone. Sometimes this means using paint rather than anything else – dry brushing, for example, can suggest the texture of rust or Tarmac, as can careful use of weathering powders. In theory, a well maintained brick wall can be represented with brick paper: there is no way that the texture of the face or the mortar would show, if scaled down; yet the eye expects to see texture, so some form of embossing is essential, even if it is over scale! Oh well, there’s an exception that tests every rule…

Texture implies being careful about details, and it does mean finer track standards as they look more like the real thing, and more importantly when something moves, it moves more like the real thing, but the finer tolerances are a natural consequence of the approach.

I am also aware that for many people, this not of interest to them. I am OK with that: it’s a hobby and you get out of it what you will. And you are welcome to browse around the site and use any hints, tips, and ideas you pick up or develop by thinking how you would do it.

The other question is, is it worth it?

Well, that does depend on what you want from your hobby but if the picture below, courtesy of Barry Norman and taken during my dalliance with 1:32 finescale, is to your liking, then the answer is probably yes!

Most of what you see there is made from styrene sheet, yet the real thing was wood and metal.

*Of late I have come to the conclusion that the only way to make “00” “finescale” is to go to the EM “fine” standard, as used by Pendon Museum, Ultrascale, etc. Otherwise the proportions at the font end, and the placement of various track work features in turnouts, are simply out of kilter. Controversial? Not really: it’s simply a matter of being consistent. Working in S, this is not something I need to worry about, as we have a single set of standards derived from the prototype.