Workbench

The venerable English Electric Type 1s have been one of the UK’s most successful diesels, and George Dent recently tinkered with a couple of Bachmann models, rekindling happy memories in the process.

PHOTOGRAPHY: GEORGE DENT

Bachmann’s Class 20 has been a staple of its Branchline ‘OO’ gauge range since 2004, with the tooling being gradually improved over the years to refine details, offer greater variations, and enhance the mechanical and electronic performance.

Eventually, the ‘20’ was re-tooled from the wheels up in 2022, offering a much more authentic product, and several options are provided in this year’s catalogue, taking in a host of detail variations and liveries.

The English Electric Class 20s were one of the most common ‘spots’ during my young trainspotting days, with pairs of shabby blue locomotives rumbling to and from Fiddler’s Ferry power station, near Widnes, delivering an endless supply of coal from collieries in the North West, Yorkshire, Midlands and North Wales. Once in a while, a colourful Railfreight version would stand out from the crowd, the bright red solebars and large BR logos marking a striking contrast to the ubiquitous blue. Although it may seem a little dated now, this livery retains a special place in my heart, so I’ve been determined to add one or two Railfreight ‘20s’ to my collection for a while.

Indeed, I’ve had 20090 in my ‘to-do’ pile for about six years now. I’d snapped it up for a bargain price when Bachmann’s re-tooled version first arrived, it being a release from the late 2010s. It may lack working lights, but to me, it still looks the part and runs beautifully, so it deserves a place in my fleet.

So, what would it need to bring it up to snuff? I’m not too interested in working lights and sounds when it comes to my own layout, so I was happy to stick with the analogue ‘spec’. However, it would need a convincing weathered finish, the addition of extra bufferbeam details, plus a footplate crew was essential.

Happily, the cab interiors of these slightly older ‘20s’ are easy to access, without the risk of damaging delicate LEDs and wiring. Simply spread the sides with your fingernails to release the locating clips and slide the cab upwards away from the bonnet and footplate section.

The addition of the Modelu crew helps bring the ‘20’ to life.

Adding a Modelu crew was child’s play, the figures being designed especially to fit onto the cab seats. The larger side windows of this particular ‘20’ afford a great view of the crew and interior, so I also weathered the cab consoles and bulkhead to ensure everything looked harmonious with the exterior.

Another key task was to add a radiator fan. Despite being a key feature of the Bachmann ‘20’ for years, the fans are missing from a few models I have from this period, thanks presumably to the expected provision of DCC sound speakers in this area. Shawplan offers a very nice set of etched brass parts to create an authentic radiator fan, along with a superior grille and surround. I passed on the prospect of modifying the roof and just built the fan, creating a simple mounting bracket for the interior from a scrap of brass strip.

With the fan in place, it’s a subtle but important improvement, given that we spend a lot of time looking down at our model trains.

I’m pleased with the finished model and, when placed beside a post-2022 Bachmann version, it still holds up well. The underframe is perhaps the most obvious area where the newer models excel, with a greater level of detail and finesse. And obviously, the working lights make a difference. The fit of the components is also enhanced, with less obvious gaps around the cabs in particular.

Working on BR blue 20057 (a 2022 release) in parallel with 20090 was interesting, therefore. Save for adding bufferbeam fittings and painting the blue radiator fan red, I concentrated mostly on the weathering work, which mirrored the approach on its Railfreight sister. I was a bit nervous about opening up the cab to fit a crew – and navigating the lighting system – so that’s a job for another day!

A quick trawl across the internet revealed the prices of pre-owned Class 20s ranged from £70 to £160, depending on their condition and age. The older the models, the less refined is the detail, but it’s worth shopping around as the ‘20’ provides an ideal basis for trialling your weathering and detailing techniques. Given that they usually worked in pairs, even a non-running model is worth considering, if the price is right, as it can be hauled as a dummy after disconnecting the drivetrain.

What you will need

SHOPPING LIST

● MIG enamel weathering washes and thinners, Tamiya cotton swabs
Availability: Scale Model Shop
Web: www.scalemodelshop.co.uk

● Shawplan • DP45-09 etched lamp brackets • EEDP20-00 Class 20 radiator roof fan & grille
Availability: Shawplan Model Products
Web: www.shawplan.com

● Ultramask masking film
● LifeColor acrylic paints
● Airbrushes and equipment
● Availability: The Airbrush Company
Web: www.airbrushes.com

● 3D-printed footplate crew for Bachmann Class 20
Availability: Modelu
Web: www.modelu3d.co.uk

● RailMatch enamel 402 Frame Dirt • 403 Roof Dirt • 412 Weathered Black • enamel thinners • Deluxe Materials Roket Rapid and Rocket Max cyano glues • Glue ‘n’ Glaze glazing adhesive
Availability: ModelGIANT
Web: www.gaugemasterretail.com

TOOLS

● Modelling knife and spare blades
● Cutting mat
● Tweezers
● Paintbrushes
● Cotton swabs
● Cocktail sticks
● Miniature screwdrivers
● Drill and bits
● Airbrush and equipment

STEP BY STEP

1 Having removed the body from the chassis, weathering began with a coat of blended enamel washes (Dark and Dark Brown shades), applied liberally with a flat brush, working on a few square inches at a time.

2 As the wash begins to dry out, use dry cotton swabs to wipe away most of the pigment, but leave traces of it within the recessed panel lines, louvres and around the raised door handles and details.

3 The ‘brush-on-wipe-off’ process was continued around the bodyshell. With a bit of care and practice, it’s possible to create effective streaking effects, which show up especially on lighter base colours.

4 I was aiming to keep the yellow ends fairly clean, but it was important to add the wash into the recessed marker light panels and horn grille, which would retain grime more readily. This initial wash coat was left overnight to dry out fully.

5 The supplied headcode discs were treated to the same weathering wash blend before installation. I pushed the locating pins into a scrap of foamboard to hold them still. The wash brings out the hinge detail nicely.

6 Next day, I decided the side grilles and louvre panels needed extra contrast, so I applied a much darker blend of enamel washes, targeting it more precisely, and only wiping away pigment that had strayed outside the grilles.

7 While the body dried again, attention turned to the chassis. After degreasing the bogie frames with an electrical contact cleaner fluid, I stippled the surfaces with a blend of black, dark brown and dark grey acrylic paints to add texture.

Older Bachmann Class 20s can be picked up on the pre-owned market for reasonable money, providing a great platform for detailing and weathering projects.

8 With the initial weathering stage complete, it was safe to install the headcodes disc and bufferbeam detail. I lost the nose-end lamp brackets, so I folded up replacements from Shawplan etched brass strips, slotted into the mounting holes.

9 When the glue had set, the brass lamp brackets were touched in with paint (I mixed some LifeColor shades to a close match), then weathering wash was added to help them blend into their surroundings.

10 No working locomotive is complete without a footplate crew and this pair of figures is from the Modelu range, 3D-printed to fit into the Bachmann Class 20 cab. They needed painting first, though, in 1980s BR uniform colours.

11 The crew fit effortlessly into the cab, which was pre-treated with weathering wash to take away the incongruous pristine appearance. This being an older Bachmann ‘20’, the cab was easier to remove.

12 My Railfreight Class 20 lacked a radiator fan, so a Shawplan etched brass replacement was assembled (the parts bonded with cyano glue) and made ready for priming. I didn’t bother replacing the grille.

13 The brass fan was sprayed with red oxide primer then weathered with a dark enamel wash. I had to rig up a mounting bracket from thick brass strip, painted black, which was shaped to allow the fan to sit below the grille.

14 My makeshift bracket was fixed into position with slow-setting cyano glue, so I could check the alignment before it set. To provide a more resilient bond, I then spread some contact adhesive around the joints (a Dave Lowery tip!).

15 The final weathering stages involved an airbrush and thinned RailMatch enamel paints. First, Frame Dirt was misted gently over the chassis, working with the earlier acrylic coating to produce an authentic grimy finish.

16 The Frame Dirt shade was also misted along the lower sides, bufferbeams, and down onto the flat running plate. Again, just the faintest wisp of paint is enough, spraying the thinned paint at around 15psi of air pressure.

17 RailMatch Roof Dirt was misted over the upper areas of the bonnet and cab roof. To keep the cab ends fairly clean, I made a card template to match the roof profile. This produces a softer ‘edge’ to the weathering compared with tape.

18 The straight edge of the card also protected the cab sides from overspray, especially the windows. The same approach was used at the nose end. I have a stash of these simple templates to suit different locomotive types.

19 I wanted subtle dirt on the windscreens, so I cut some templates from Ultramask, a low-tack masking film, shaped to mimic the travel of wipers. The wipers on my model were loose, so I removed them to make this stage easier.

20 With the masking in place, I sprayed an ultra-light mist of Roof Dirt over the windows, testing the spray on a piece of paper beforehand. For a cleaner look, clear matt varnish can also look effective.

21 When the paint was dry, the masking film was gently removed, taking care not to scratch the glazing, revealing the wiper trails. The shaped masks can be re-used many times if placed back onto the backing sheet.

22 After cleaning the wheels and wiper contacts, the body was reunited with the chassis, and the model was test-run. When happy, the wipers (originally grey but repainted black) were installed with a clear glazing adhesive.

Class 20s usually work in pairs, so I’ve paired 20090 with Rail blue 20057, a post-2022 Bachmann model with an improved detail and electronic specification, meaning all I needed to do was weather it.

Bumping the buffers

Things didn’t go exactly to plan with this project, as I managed to drop the bodyshell during the initial weathering stage, damaging a couple of the buffers. This was a blessing in disguise, as the original units looked a bit too ‘spindly’ to me. After removing the shanks, the mounting plates were gently filed to remove traces of old glue, then a set of turned brass replacements was installed.

The brass buffers came from the A1 Models range, which I’d had in stock for years, sprayed with red oxide primer before installation, fixing them in place with slow-setting cyano glue. I painted the bufferheads and spindles black once they were in place.

A1 Models buffers often turn up on traders’ stalls at exhibitions, but alternatives are available from the likes of Peter’s Spares or Wizard Models.
Web: www.petersspares.com www.wizardmodels.ltd

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Workbench

Peter Marriott can’t see the wood for the trees as he hones his arboricultural skills, experimenting with a fir tree kit from the Netherlands.

PHOTOGRAPHY: PETER MARRIOTT

When it comes to modelling a garden, wooded bank or woodland scene, some prefer to make their own trees rather than buy ready-made ones in the quest for a realistic look. Many of us have a go at making our own, but buy ready-made trees to harvest bits and ideas to improve them, and I’ve seen expert modellers turn fine wire and hot glue into excellent-looking specimens at some of the major railway shows.

At the ON TRAXS 2026 model railway show in the Netherlands, I came across a demonstration of a Unique Scenery Products fir tree kit, which gave impressive results. I bought one and, on returning home, set about building it – only to find it was a little lofty!

The kit was for ten fir trees up to 23cm tall, and I didn’t consider how tall that would be on my layout (one of the shorter tree kits might have been a better bet). However, silver linings and all that, and I have turned this to my advantage by cutting most of the trunks in half – double the trees for the same price.

Each kit comes with ten timber tree trunks of varying heights, depending on the pack bought, as mentioned earlier. The trunks are pre-drilled with holes at right angles, which is a wonderful time-saver. In addition, there are approximately 50 pieces of florist’s wire, plus instructions in words and pictures of the step-by-step process, as well as a template to work with if the kit is going to be made according to the instructions. All this is, of course, in English, so no need to become fluent in Dutch.

‘PLANT’ YOUR IDEAS

Before you start modelling, take a long, hard look at real trees while you’re out and about, as it’s amazing what our eyes take for granted. Observe the texture and colour of the bark, the shape of the branches, and the variety of the leaves. Of course, not all leaves are the same size or colour, but their variety is surprising when you take the time to really look: each tree is unique. Sometimes the whole or part of a tree may have died; some may have lichen or ivy growing on them, and some may suffer from disease – all excellent fodder for the model maker.

Each tree I crafted using this kit took approximately 15 minutes to make. If you set up a ‘production line’ to make the same type of tree, this time can be reduced to around 10 minutes each. Before you start, make sure you have all the materials and tools you need to hand. Also, bear in mind that the suggested times do not include the drying of the bark paint and adhesive.

What you will need

SHOPPING LIST

● Florist’s foam to stand the trees in during the build process

● Adhesive, such as white glue, plus extra-hold unscented hairspray • Static grass fibres (2mm, 2.5mm, and 4mm lengths)
Availability: Noch, www.noch.com, Woodland Scenics, woodlandscenics.com, and WW Scenics, www.wwscenics.com

● Vallejo Earth Texture (26218)
Availability: Model shops and all Vallejo stockists

TOOLS

● A pair of sprue cutters
● Paintbrushes for the adhesive and the bark effect
● Electrostatic grass planting tool

Earthy results

Vallejo Earth Texture Dark Earth (Art. 26218) is a thick, dense paste that is versatile for creating realistic ground textures on layouts depicting muddy paths, forest landscapes, or damp meadows. Dark Earth can be easily applied with a brush, palette knife or other tools and, with its thick consistency, easily creates rough, realistic textures that, once dried, form a sturdy, dense surface. In addition, I found the product dried well to represent tree bark.

The paste dries in about 30 to 45 minutes, depending on the thickness of the layer. It can also be diluted with 20% to 40% water to achieve a smoother finish or add subtler details. The product contains no solvents and is non-flammable, making it suitable for all ages and safe for use in enclosed spaces. It comes in a 200ml pot, which retails at around £10. One pot would be sufficient for hundreds of trees. Available from all Vallejo stockists.

STEP BY STEP

1 This may sound obvious, but it’s easy to get wrong: use the right size of tree for the scale of your layout. Short trees run the risk of looking like saplings if the scale is off.

2 A 25cm model tree is a 40m tree in ‘N’ scale; 20m tree in ‘HO’ scale; and 11m tree in ‘O’ scale. A 20cm model tree is a 35m tree in ‘N’ scale, 17m tree in ‘HO’ scale; and 9m tree in ‘O’ scale.

3 Consider the elevation of your location – not all trees survive on higher ground: deciduous trees can grow up to 1,300m above sea level, but conifers can thrive at higher altitudes.

4 Planning stage over, you’re ready to start. Each kit will be different in its approach, so read the instructions to avoid missing a step. My kit has step-by-step photos and templates.

5 My kit is from Unique Scenery Products, based in the Netherlands, with an online shop (see en.scenery.shop). This kit is for ‘HO’, but the trees could be used for larger scales, too.

6 Follow the templates to cut each florist’s wire to the correct length. Each kit comes with ten trunks of varying heights, depending upon the pack, pre-drilled with holes.

7 I didn’t need 23cm tall trees, so cut the trunks in half using sprue cutters. One of the trunks will have holes to the ground – dab white glue on these holes (paint will cover them later).

8 Using sprue cutters, I cut two pieces of wire to the same length, because each layer of branches requires two pieces. Once the wires are ready, pop into the holes at each layer.

9 Wood glue, contact adhesive or Mod Podge are all good glues for fixing the wires in position. It is best to leave the adhesive to set for a few hours before the next step.

10 After pushing the wires in at right angles on each layer, I introduced a blob of adhesive to each wire and, again, left the glue to dry for a few hours.

11 After painting on the adhesive, I stood four of the completed tree trunks – with branches – in a piece of florist’s foam to dry for a few hours before moving on to the next step.

12 Next, I painted the trunks with Vallejo Diorama FX Earth Texture, then left the tree to dry. Once dried, I looked at the tree’s outline and trimmed stray branches using sprue cutters.

13 I decided to paint the branches with adhesive rather than spray them so only a small amount of adhesive will get onto the trunks. I used Woodland Scenics’ Static-Tac.

14 For the first layer of static grass fibres, I used 2mm light brown colour fibres then, when that was complete, I left the tree to dry for around three hours.

15 The tree to the left has had two layers of short static grass fibres, demonstrating how the foliage on the branches soon builds up layer by layer.

16 This demonstrates the need to plant grass fibres quickly into wet adhesive. On some branches, no fibres had stuck because it was a warm day and the glue had lost its ‘stick’.

17 This tree has had one layer of 2mm fibres, followed three hours later by a layer of 4mm fibres. In hindsight, it would have been best to cover the top of the trunk with fibres too.

18 The next step was to bend the branches using my fingers to create the natural ‘droop’ of a real tree. This is a quick two-minute job on each tree.

19 For the third layer of grass fibres, I used extra-hold unscented hairspray bought from the supermarket, and sprayed it up and down over the branches.

20 I added green static grass fibres to my Gras-Master and attached the grounding pin to the trunk to create the circuit before switching on.

21 After just two minutes’ work, this was the result. The first two layers of brown fibres still show though and make a realistic colour variation on the branches.

22 The first four trees are from the kit. The fifth is 23cm and needs more fibres. To the right is a plastic tree armature by Woodland Scenics that I used to test planting static grass fibres.

23 My 12cm tall trees built using the kit. The second tree on the left tree has an additional layer of green static grass fibres, which have filled out the foliage nicely.

24 Seen on a project layout: it is not necessary to add static grass fibres to each of the lower branches on taller trees. Leaving some bare creates the impression of dead old branches.

25 The tree on the right has had an extra layer of green static grass fibres. One 2mm layer of brown fibres then a 4mm layer is good as a basis for the two layers of green fibres.

26 The finished woodland scene. I am impressed by the result! Each tree costs £1.50 (because I made 20 trees from the kit rather than the supplied 10) – and this cost also included the paint, adhesive, and the grass fibres I used.

Expert tip

Do your research as to which trees are native to your layout, and which can be seen in the vicinity of the track if your layout is based on an actual location. Look at photographs of the area and, if possible, take your own images from various angles and lines of perspective to help you plan. Think too about each the type and age of your trees, and again, do your research. As a guide, a silver birch can grow to 30m, which is around six times the height of a locomotive. Beech trees grow up to 40m in height.

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Workbench

Peter Marriott brings the outside in as he takes a simple card kit and gives it the full Gardeners’ World treatment.

PHOTOGRAPHY: PETER MARRIOTT

The Forge Cottage was created from part of a larger card kit from Barleycorn Designs, with a few extra modelling flourishes by Peter.

I had heard about Barleycorn Designs’ card kits, but never actually built one. However, their eye-catching price (a mere £5) led me to wonder how they went together. These kits have been available since 2010 and can be bought through model shops. Each ‘cottage’ features exterior and interior walls and floors, with embossed tiles on the roof and printed plastic glazing. Details of fireplaces, pictures and curtains are also included. At first glance, the card appeared to be well cut, and I anticipated that the build would create a strong structure.

The kits come with a detailed set of instructions permitting the roof and top floor to be made to lift off, so the interiors can be accessed after construction. Individual rooms can also be lit with LED lights.

The basis for the cottage on this diorama was part of the Old Forge cottage kit. The kit can be built in its entirety (making a 240mm long structure) to represent a forge and cottages, but I opted to construct just the cottage.

To add visual interest, I decided to add areas of exposed brickwork. This was not something I’d tried to model before, but I had some mid-red bricks by Juweela. These are nicely made and come in different scales and colours.

Another enhancement I made to the exterior was to add strips of basswood over the printed rendering of exposed timbers. This would give the walls more of a three-dimensional appearance, while adding natural grain texture.

GETTING GREEN FINGERS

In addition to the card kit, I had come across some interesting scenic materials in the same model shop – Scale Models Centre of Roughton, Norfolk – which I was keen to add to the build (find out more at www.scalemodelscentre.co.uk).

First, I came across an unusual material intended to represent climbing plants or vines. It looked like the usual foam pieces attached to a thin plastic web, but, on taking it out of the pack, I realised it was a woollen fibrous material, a bit like a woollen scarf, in that when teased out, it breaks down into strands, with a leaf-like effect attached to them.

This is a novel material I couldn’t wait to use as brambles, tree foliage, climbing plants and the like. I made the decision to use white glue that dries clear when attaching it to a branch or wall. At just £2.50 a pack this seemed worth experimenting with.

Next, I came across a pack of small natural twigs with foliage suitable for making branches and small, delicate trees for various seasons. The material comes with dainty ‘trunks’ or branches, and various coloured fine scatters can be added to the ‘flowers’ on top of a little white glue. Potentially, these are useful as blossom bushes or small trees, and the entire material can be sprayed with deep brown or black acrylic paint to vary their appearance. I looked forward to working with this natural material as it’s not a plastic or other man-made fibre.

All in all, I was pleased with my new ‘finds’ and keen to design a typical summer garden scene, worthy perhaps of a Gardeners’ World mention!

What Peter used

SHOPPING LIST

● Juweela 27034 mid-red bricks, basswood strip and various scenic materials
Availability: Model Scenery Supplies
Web: www.scalemodelscentre.co.uk

● Woodland Scenics static grass fibres, scatter materials and glues
Availability: Bachmann stockists
Web: www.bachmann.co.uk

● Noch Gras-master 4.0 electrostatic grass applicator, Grass Stamp set
Availability: Noch stockists
Web: www.gaugemasterretail.com

TOOLS

● Modelling knife and spare blades
● Cutting mat
● Steel rule
● Tweezers
● Paintbrushes
● Felt-tip pens

STEP BY STEP: ENHANCING THE COTTAGE

1 The basis for this diorama is part of the Old Forge cottage by Barleycorn Designs. This card kit contains exterior and interior walls, which are die-cut to ease assembly, and the roof panels feature embossed tile detail.

2 The kit includes lots of interior detail including fireplaces, pictures and curtains, plus glazing sheets pre-printed with window frames. Full instructions are supplied and the parts form a strong structure.

3 I decided to try adding some areas of bare brickwork on the exterior walls, where the rendered finish has broken away. A pack of individual red bricks was obtained from the Juweela range.

4 Two pieces of card were cut to form backing panels and the bricks were fixed in place with Mod Podge Matt adhesive. The bricks were arranged in a typical stretcher bond pattern.

5 After cutting out sections of the cottage’s walls, the brick panels could be installed from behind, ensuring an area of card around the bricks to form a glue bond with the inside wall.

6 Once the adhesive had dried, I dribbled a little thin PVA glue around the gap between the bricks and the main wall and shook on a little fine sand to mimic loose mortar and render.

7 To add further surface relief to the exterior walls, I cut some thin strips of basswood to match the sizes of the printed timbers. Use a fresh scalpel blade and cut the wood gradually to achieve neater results.

8 Before fixing the basswood in place, I aged its appearance with a brown felt-tip pen (wood stain or weathering washes are also suitable but take longer to dry). The timber sections were glued in place with PVA.

9 A 1ft square piece of foam formed the base for this diorama, with some contouring achieved with Mifoshape, a fibrous sculpting compound which I find easy to work with (www.dcctrainautomation.co.uk).

10 When the surface was dry, I painted the lane and driveway areas in grey and the rest in an earth brown shade, using cheap acrylic paints which you can find in bargain and craft stores.

11 After an initial layer of fine sand had been scattered over PVA glue in key areas, next comes some Woodland Scenics 4mm light green static grass fibres for the first layer of greenery. My choice of adhesive was Static-Tac.

12 The diorama gave me a good chance to try out the latest Noch Gras-Master 4.0 tool, plus the various Grass Stamps and adhesive tray, which was filled with a puddle of Static-Tac glue.

13 Here, the Grass Stamp has been used to dab random deposits of adhesive onto the ground. Similar effects can be achieved with a piece of sponge.

14 Grass fibres were then planted into the wet glue. The random patches of glue left by the Grass Stamps ensure the fibres do not create an overly uniform coverage.

15 Once the first layer of fibres had been planted, I gently brushed some adhesive over the surface of some fibres then planted a second layer of slightly different grass fibres.

16 Paths around the garden area were created by sprinkling fine sand over a layer of PVA adhesive that had been spread by brush. The raised beds were made from pieces of basswood strip, coloured with a felt-tip pen.

17 Short fibres of static grass were then planted between the paths. Piles of Busch Natural Moss were dotted around the garden to represent areas of compost, and the raised beds were filled with Treemendus real fine earth.

18 I found this unusual material in the Scale Models Centre store in Norfolk. When teased out, it breaks into strands with a leaf-like effect, making it ideal for foliage and more.

19 The teased-out climbing material has been loosely glued to the walls of the cottage. Dots of red or yellow fine scatter material can create the illusion of a climbing rose.

20 These natural twigs, also from Scale Models Centre, are suitable for making small trees, shrubs and foliage. I painted the tips of the flower bud with acrylic to represent blossom.

21 Here, I’ve treated multiple shrubs made from the same natural material, with the tips picked out in different colours. I also brushed on some PVA and dipped the tips in scatter material.

22 Here are some of the fine, brightly coloured scatter materials I employed to mimic flowers. Have a browse in your local model shop to see what’s available.

23 These strawberry plants, from the Tasma range, are marketed for ‘N’ gauge, but they work well in ‘OO’. Again, these are sold by Scale Models Centre of Roughton, Norfolk.

24 The finished garden, with its flowering plants and shrubs, conjures up a balmy summer scene. The gardener figures are from the Noch range.

The stylish 1970s Mercedes-Benz W114/W115 Coupe in the drive adds a classic touch. The weed-strewn driveway was created by adding a few spots of white glue, then squirting short static grass fibres into the adhesive from a puffer bottle.

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Workbench

Having a short rake of Suburban stock to titivate, George Dent explains how he populated the interiors and gave the Hornby models a suitably lived-in appearance.

PHOTOGRAPHY: GEORGE DENT

Faced with a need to create a rake of ex-LMS non-corridor coaches for a typical late 1950s/ early 1960s branch line operation, a trio of Hornby Stanier 57ft coaches has been waiting its turn on my workbench for a while.

I had set myself a brief of adding interior lighting units, a decent complement of passengers in suitable garb for the period, and to give the coaches a workaday appearance, redolent of daily use in harsh weather conditions in the wilds of northern England. The carmine and maroon cars needed to show signs of being cleaned – or the bodyside at least – but not as regularly as, say, stock intended for express and prestigious services.

Operating on a steam-powered railway, the carriage roofs, ends and underframes would have to be weathered accordingly, preferably with a discernible texture to the grime and soot.

GETTING TO WORK

I’d actually forgotten how nice the Hornby models were, featuring some fine detail on the bodyshells, including wire handrails, plus well-appointed underframes. The painted interiors are welcome too, with contrasting upholstery colours for Third- and First-class compartments.

Accordingly, there wasn’t much needed in terms of detail upgrades. I did mean to add some homemade dynamo belts, but completely forgot (it’s my age!), so that’s a job for the future…

Instead, I concentrated on imparting a more authentic, polished look for the paintwork, albeit with a few years’ worth of ingrained dirt visible around doors, inspired by many period colour images which showed vivid crimson and maroon bodywork contrasting starkly with grime-encrusted roofs, chassis and ends.

To achieve this polished look in the past, I have employed T-Cut automotive finish restorer to buff up the factory paintwork, which works a treat. However, more recently, I’ve realised I can achieve the same results simply by spraying a few coats of good-quality clear varnish, which saves plenty of labour!

Mr Super Clear Gloss, from the Mr Hobby range, is my clear coat of choice, as it adheres to the factory finish well, requires only a light layer, and dries to a tough, super-clear finish. It’s dry to touch within an hour or so, but I err on the side of caution and leave it overnight to cure fully before handling.

With the Mr Super Clear, I don’t need to mask the glazing either, as it remains crystal clear. This is not always the case, so you may want to consider masking (with tape or a masking fluid) or removing the glazing if possible. The latter approach is less onerous than masking individual windows, especially on suburban stock, but it brings a risk of breakage – it all depends on how much glue has been used during assembly.

Masking tape was applied once the clear gloss coat had cured, to keep the sides clean while the roof and ends were weathered. Don’t forget to mask the inside faces of the glazing too, to prevent stray paint or dirty fingerprints from finding their way onto the windows.

The factory finish of these Hornby models has been enhanced by the initial clear gloss coating, adding a deeper lustre to the paintwork redolent of the paints employed on the real vehicles.

IMPORTANCE OF TEXTURE

Studying plenty of prototype images revealed that texture would be just as important as the choice of ‘dirt’ colours employed during weathering. Carriages built during the steam era invariably featured a layer of waterproof material stretched over the roof panels, which would then be painted and, if you look closely, this has a distinct texture which a smooth plastic moulding fails to represent.

Simply brushing a coat of acrylic paint over the roof is often enough to rectify this, and, once the brush strokes and shading have been refined with an airbrush, the results can be effective.

Underframes are even more prone to the build-up of thick layers of grime, including brake dust, oil and grease and myriad other unpleasant deposits.

Again, hand-brushed coats of acrylic paint are great at taking away the smooth, perfect appearance of the plastic mouldings, while adding some dry pigment into the paint introduces a gritty texture. The coarseness can be tailored simply by the amount of dry pigment added to the blend, so it’s something that’s worth experimenting with, perhaps on an old, scrap model to begin with.

The airbrush duly softens the harshness of the hand-brushed underframe and allows the final tones and shading to be refined.

Of course, not everyone has an airbrush (or wants to use one), but the great thing about the layer of acrylics on the roof and underframe is that dry weathering pigments will adhere readily to these matte surfaces. Applying powders with a soft brush can produce effects very similar to an airbrush, albeit with rather more mess on the workbench (and often on one’s clothes!).

The bodysides were not left completely pristine, with enamel washes proving effective for mimicking ingrained dirt trapped within door seams and around the door furniture in these high-traffic areas. The glossy surface allows the washes to be manipulated easily without recourse to enamel thinners. Indeed, it’s important to keep thinners away from glazing to prevent clouding of the clear plastic. That said, the enamel washes themselves caused no issues with the glazing.

Offering a slight contrast to its maroon neighbours, M11703M wears the earlier BR carmine livery.

INSIDE MATTERS

A few Train-Tech LED lighting units were installed to the rake of carriages, which are powered by small button cell batteries and feature motion-sensitive switches, so no wiring is required. Simply fix to the inside of the roof with double-sided sticky pads or Black Tack.

The lighting switches itself on when the carriages begin to move and powers off after being still for a few minutes. I chose a pack with traditional ‘warm’ lighting, although, in hindsight, the strip doesn’t feature enough LEDs to illuminate all of the compartments – they’re better for open carriages – so I may replace them in future.

As for the passengers, a mix of Preiser ‘HO’ scale plastic and Modelu ‘OO’ 3D-printed seated figures had to be painted individually before installation. This is not one of my favourite tasks these days, and it reminded me that I’m overdue for an eye test, but it was worth it in the end.

As I noted some traces of light oil in the axle bearings when I removed the wheels for weathering (they were de-greased with Deluxe Materials Track Magic before the paint was applied), I duly added a few drops of fresh oil during re-assembly to ensure smooth running.

Cleaning the wheel treads and pinpoint axle tips of any paint was an important step.

The completed branch line train has turned out well, enhancing the pleasing appearance of the Hornby models and providing a convincing load for my BR Standard ‘2MT’. It also provided a hugely rewarding project.

What you will need

SHOPPING LIST

● Train-Tech carriage lighting units
● Preiser ‘HO’ seated passengers (unpainted)
● Tiny Signs printed carriage posters
● Track Magic cleaning fluid • Glue n Glaze adhesive
Availability: Gaugemaster
Web: www.gaugemasterretail.com

● Seated passengers
Availability: Modelu
Web: www.modelu3d.co.uk

● LifeColor acrylic paints, dry pigments, airbrushes and equipment
Availability: The Airbrush Company
Web: www.airbrushes.com

● Mr Hobby clear gloss aerosol
● Tamiya acrylic paints, thinners and masking tapes
● MIG enamel weathering washes
● AMMO Dio Drybrush paint (Gun Metal), paintbrushes
Availability: Scale Model Shop
Web: www.scalemodelshop.co.uk

TOOLS

● Modelling knife and spare blades
● Tweezers
● Pliers
● Miniature screwdrivers
● Paintbrushes
● Cotton swabs
● Airbrush and equipment

STEP BY STEP

1 The Hornby coaches are tricky to dismantle. There are small clear plastic retaining tabs at each corner, plus large central locating tabs. The bogies unclip with the aid of pliers.

2 After cleaning the body, the first job is to give the sides an overall coat of clear gloss. I used Mr Super Clear Gloss from Mr Hobby. I didn’t bother masking the glazing (see main text).

3 The bodyshells were left to dry. Meanwhile, I set to work on the chassis, blending dark grey and brown LifeColor acrylics with a dark brown shade of dry pigment.

4 With the wheel sets held in clothes pegs, I dabbed the gritty paint onto the wheel faces with a flat brush. Built up over two coats, the stippling action imparted a random texture.

5 The same blend of paints and dry pigment was also stippled onto the bogie frames, working it into all the recessed areas, yet keeping it away from the pinpoint axle bearings.

6 Work continued on the chassis frames. Again, I took care to work over all the details using a stippling action. The main purpose is to impart a textured coating.

7 It looks messy now, but everything will soon be refined. I added more dry pigment to the paint to create a thicker, coarse blend, then dabbed it onto the bufferheads to mimic thick grease.

8 Once the clear gloss coats had cured, I masked off the coach sides. I also masked the inside of the glazing, just in case any stray paint worked its way to the interior.

9 A blend of LifeColor grey acrylics was brushed over the roof using lateral strokes. Again, this is intended to add some surface texture and take away the smooth, plasticky look of the roof.

10 A ‘dirty’ dark grey blend of Tamiya acrylics was airbrushed over the ends. The ends of non-corridor stock like this would rarely be cleaned in real life.

11 The same blend of Tamiya paints was then misted over the roof. This hid the unsightly brush marks in the initial coat while retaining the surface texture of the LifeColor acrylic.

POWDER POWER

For those without an airbrush, the finessing of the weathering can be achieved with dry pigments, often referred to as weathering powders. The matt finish created by the acrylic paints applied to the roof, ends and underframe provide the perfect base for the dry pigments to adhere (the paint must be fully dry).

Simply create a suitable blend of pigments and apply with a dry brush, working it into the surface and brushing away the excess with a soft brush. Avoid blowing it away with your breath, as any moisture landing on the surface will cause staining. A stiff brush, such as an old toothbrush, can create streaking effects.

Once applied, the powders will benefit from sealing with a pigment fixative solution, which can be sprayed through an airbrush or plant mister. Alternatively, an aerosol matt varnish can be misted over.

12 Shifting to a darker shade, I added some tonal variety to the roofs, targeting the paint around the raised ventilators and following the ribbing and gutter lines.

13 A different blend of Tamiya acrylics was used on the underframe. A gentle misting through the airbrush gave the chassis, bogies and wheels a more authentic appearance.

14 It’s vital to clean the wheel treads. Deluxe Materials Track Magic, applied with cotton swabs, removed the paint quickly. The pinpoint axle tips were cleaned, too.

15 While cleaning the wheels, I double-checked the back-to-back gauging before the axles were fitted back into the bogies. Various gauges are available for this task.

16 Before re-assembly, the sides need to be unmasked and weathering washes brushed into the door seams, around the door furniture and into the window recesses.

17 As the wash begins to dry, a swab wiped most of it away, leaving the dark pigment within the recessed seams. Switch to a clean swab when the cotton becomes clogged.

18 The results can be tailored to your tastes, and the appearance of the ‘dirt’ will depend on how dark the wash blend was. For more subtle effects, use more of a brown/light grey shade.

19 Attention turned to the passengers. A mix of plastic and 3D-printed figures was tacked to a scrap of wood with cyanoacrylate glue and coated with a misting of aerosol-based primer.

20 I used LifeColor acrylics to paint the little people, as they dry quickly, but any hobby paint will do. I tried to use muted colours for the clothing to suit the late 1950s period.

21 Painting lots of figures in one go can feel laborious, so I did it in shifts to save my sanity. Once complete, they were gently ‘snapped’ off the wood block and fixed into the interiors.

22 The Glue ‘n’ Glaze takes time to cure. I noticed this lady had a cigarette on the go, so I made sure she was sat in one of the smoking compartments.

23 I’d been saving a few Train-Tech coach lighting kits for these coaches. They’re battery-powered and feature motion sensors. Simply insert the battery and fix the unit to the inside of the roof.

24 I used Black Tack to secure the lighting strip. After a test fit, I had to trim the tops of the compartment bulkheads to provide clearance for the lighting circuit board.

25 A final touch for the interiors was a series of printed carriage prints, which were cut from a sheet and fixed in place with a small bead of Glue ‘n’ Glaze.

26 After giving the glazing a wipe, the carriages were reassembled. The lighting units work well, switching on when movement is sensed, then powering off after a few minutes of stillness.

27 I almost forgot to install the Hornby magnetic couplers in place of the tension locks. I chose the 20mm vacuum pipe style couplers (R7399), but buckeye types are also available.

28 The new couplers were misted with the same Tamiya paint mix to help them blend with the underframes. I wiped the faces of the magnets clean with a swab before the paint dried.

29 The magnetic vacuum pipe-style couplers look convincing and work very well, making them a simple, worthy upgrade.

30 The finishing touch was added with AMMO Gun Metal Drybrush acrylic paint. Using a soft-bristled brush, most of the paint is wiped from the bristles onto tisssue before it is swept over the raised edges of the footboards and underframe. The deposits of metallic pigment help the detail stand out. If you apply too much, simply wipe it away with a cotton swab.

The contrast between the glossy bodysides (with subtle staining around the doors) and the textured matt roofs, ends and chassis makes for a compelling appearance.

Providing a suitable formation for this Hornby BR ‘2MT’, the train looks at home in a branch line setting.

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This year marks the 45th anniversary of the Woodhead route’s demise, the lamented trans-Pennine line finally succumbing to closure after years as a predominantly freight-only operation. Accordingly, our headline layout feature explores Brian Tucker’s ‘Gorton Lane’, which recaptures plenty of Woodhead memories, concentrating on one of the more urban areas through which the line ran.

Additionally, we have a bumper 26-page Workbench special, featuring step-by-step guides for various locomotive, rolling stock and scenery projects, including simple tips for improving steam era coaching stock. There’s a mixed bag of new models under review too, including EFE Rail’s LSWR ‘T3’ and Dapol’s GWR 517 Class.

All this, plus much more, can be found in the July issue of Model Rail, on sale now!

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