Category Archives: Finescale

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.