The Third attempt at modelling the Crowsnest Tramway came some two years after our move to Norfolk in 1981. As I did not have unlimited space (or time) at my disposal 16mm scale was thought too demanding. Besides, I had sold all the models anyway! The adoption of an established scale between the 16mm and 7mm to the foot was thought to be desirable. I admit that the one chosen, 1:32 does not readily spring to mind in terms of railway modelling but a visit to your local hobby shop and a glance at the military modelling section will reveal a host of finely detailed kits and components for 1:32 (and 1:35) scale including some really excellent figures and livestock. A plus point was that, in 1:32, two foot gauge scaled out at 3/4 in. - allowing the adoption, wholesale, of the excellent NMRA On3 standards. Having made my choice the first 3/8 scale item to be made was a locomotive. This was described in detail in issue number one of Model Railway Journal.
As mentioned space was at a premium, so the site for the third version of the ‘Crowsnest Tramway’ was in the corner of my studio/workshop, above some shelves. As can be seen from the layout plan, the area was not generous but sufficient to allow a reasonable display. I vacated this location eventually, the ‘studio’ referred to, actually being our front room. Relative calm returned, following a move to a purpose built extension.
Planning began by drawing up the proposed baseboard full size on squared paper. This I covered with detail paper and then spent a few evenings planning out just how to resolve the pictures I had in my minds eye with the space actually available. I decided on a simple loop with allowance for extending the line over some nearby bookshelves - this latter option never being explored. The baseboard was constructed conventionally with a timber frame, sundeala trackbed and plywood facia and contour boards. This fitted into a wall hung case with a curved scenic backdrop (hardboard), and a slimline fluorescent light fitting. A lid helped to keep most of the dust away and also hid the transformers that provided power for track and turnouts.
Lighting
If you are using a fluorescent tube make sure, if you can to obtain a tube that is capable of giving ‘full spectrum’ light. Such tubes are popular now with fish breeders etc., as they show colours to their best advantage under artificial lighting. At any rate always check colours you intend to use on your models under the actual layout lighting. There are often quite severe changes in perceived colour, especially so when there is a tungsten light over the workbench but a striplight over the layout. After painting the curved hardboard ‘backscene’ with two coats of sky blue matt emulsion paint the skyline was pencilled in and the desired scenery sketched in place faintly. With the baseboard removed the sky colour was modified with an airbrush so as to be light at the horizon and darker overhead. Cloud effects were added also. The background scenery was then painted using gouache. To give an effect of distance, progressively larger and larger amounts of white was mixed with the colours.
Landscape
The contours of the landscape were added to the baseboard by building up progressive layers of thick sheet expanded polystyrene (the type of material used as cavity wall insulation). This was glued in place with a water based adhesive to avoid solvent attack and roughly cut to shape using a bread knife. Be careful as this is a delightfully messy procedure - best done outdoors on a calm day! Afterward, the whole of the polystyrene was then coated with a thin layer of plaster. When set I used latex moulds to create rock strata and give texture to the formation. Latex moulds are readily created using liquid latex, some bandage material and a rock. Study most exposed stone or rock and you will note definite areas where the texture or strata is very fine. Mother nature has little sense of scale where this effect is concerned and it is usually possible, with some searching to find perfect ‘scale replicas’ of most real strata formations. I found what I wanted on some exposed rockery stones in our front garden. To make a mould, having selected an area to reproduce, first clean the stone with clean water and a stiff brush. Coat an area about the same size as the palm of your hand with the liquid latex working it well into the crevices. When this is dry brush on another coat and press in some scraps of bandage material while still wet. Repeat this to build up a coat about 3mm thick all over. I made up at least eight different moulds during one warm summer afternoon. When they are set (the moulds turn to a slightly transparent brown colour) gently peel them away from the stone.Trim the edges with sharp scissors, wash with water and dust with talc to keep in good order.
To use the moulds I first re-wetted the plaster where a rock formation was to be cast. A fairly runny mix of plaster of paris was mixed in a paper cup, just enough for one mould. The mould chosen was washed in water, shaken almost dry and held in the palm while the plaster was poured on. Plaster of paris thickens rapidly and the mould was applied to the scenic base just before setting commenced. Each successive rock casting was sculpted to meet the next using dental tools. When completed the whole terrain, rock castings, even the trackbed was given a coat of mid grey matt emulsion paint to act as a sealer.
TRACKWORK
The original layout plan was used to directly mark the track centre line in place on the sundeala trackbed. The turnout tiebar positions were also marked and slots cut through the sundeala to accommodate the rods that actuate the turnouts. Sleepers were cut from a 3mm thick plank of basswood. They were glued in place along the marked centre line at about a scale two foot spacing. A degree of irregularity was exercised, hopefully avoiding excess. When set in place the upper faces were sanded flush using a block and fine sandpaper, a steel straightedge was used as a check. The exposed surfaces were then scored with a scrap of saw blade held at right angles to the grain and run parallel thereto. Deeper cuts and notches were created with a scalpel b1ade. The sleepers were then lightly sanded again and stained with dilute sepia drawing ink (about 50/50 in water). This caused the texturing to close up due to swelling in the grain of the timber. After further texturing with a needle held in a pin chuck the upper faces were sanded using a block for a final time with flour paper, not in line with the track but from side to side. The final colouring was made by dry brushing with a pale grey, some highlights were added later.
The rail used was code 100 flat bottom nickel silver, which, at 1:32 scale, is a reasonable representation of a prototype rail of about 30 pounds per yard. The rail was spiked in place using small spikes which were pre coloured a nice rusty brown. I used an On3 NMRA track gauge to lay the rails accurately, this provided much more than just gauge setting, flangeways, wheelsets etc., are all covered. All turnout parts were machined where possible for accuracy and the crossing noses were silver soldered for strength and appearance. Rail joiners were not used, instead, scale fishplates were applied to rail joints. Electrical connections were made invisible by providing long ‘spikes’ formed from brass wire. These were long enough to pass through the baseboard and were soldered neatly to the foot of the rail. All these connections were made on the opposite side of the rail from the onlooker. The turnout blades were connected to a metal tie bar using small shoulded screws. Activating mechanisms based on a gearhead type coreless motor provided movement for the turnouts, levers and switched current automatically, both for the track power and themselves. Both turnouts had scale hand throws attached operated direct from the tiebars. The throws were copies of a W.G.Bagnall type offered in their catalogues at the turn of the century. As two identical models were required I made up a set of templates and pantograph milled the various components. This has the advantage that, should more be required for extensions to the layout (or another layout) most of the work is already accomplished. After assembly by soldering they were cleaned up and chemically blackened prior to painting.
Landscaping
With the track in place and thoroughly tested, ballasting and general scenic work began. All surfaces other than the previously mentioned rock faces were treated in one way or another. Ballasting the track came first, using various grades of stone chippings. Finer material was used to simulate soil, and loose ‘stones’ were set at the base of the rock faces. The waste plaster from the rock castings was used for creating the latter. All these materials were scattered on loose and dressed with a soft brush. Care was taken to create ‘mounds’ etc., for realism. When I was assured that I had created the effect desired the loose materials were bonded firmly by the following method.
The whole of the layout was saturated with a mist of clean water to which a drop of detergent had been added. This was done using a bulb operated atomiser. A 50% solution of P.V.A. adhesive in water was mixed and dribbled onto the moist material (capillary action draws the glue in rapidly). Care was taken to ensure that the whole mass of material was thoroughly treated, failure to ensure that this is so will lead to disaster as the thicker layers will undoubtedly crumble when dry. The whole layout looked rather messy at this stage, rather as if a bottle of milk had been spilt. A whole day was needed for drying out, as the glue dried it went, first from milky white to transparent, then matt. When finally dry the glue is invisible and the material appear loose again to the eye but is in fact firmly fixed. At this stage all the ground colours, rock faces, tints and highlights were added using the ‘Tamiya’ range of paints. These are most useful for scenery as the dry with a hard totally matt finish. Being water soluble when wet however they are very amenable to subtle toning. This was all undertaken with the layout in place in the cabinet so that the effect of the strip light could be allowed for.
Grass Cover
In a large scale like 1:32 most of the conventional methods of providing grass cover, weeds, bushes etc are no longer effective. A study of the techniques used by military modellers showed that grass can be realistically portrayed, albeit in a tedious manner. Moss like growth was added simply by mixing dilute P.V.A. adhesive with some green ground foam. This was applied direct to the landscape using tweezers. This will enable the area around the track to be given an unkempt appearance without affecting the passage of locomotives or stock. The grass itself is created using either sisal string or matting fibres. The technique is simple,a cluster of fibres or length of string is held between finger and thumb. The trailing, longer length is cut off and a blob of P.V.A. applied to the cut end. The clump is then placed (glue end down) onto the landscape. When released the fibres usually have a tendency to fall gently apart creating a grassy ‘tussock’. If you are using string sometimes a prod with a knife blade assists this process. It is important to vary the lengths of the fibres each time. Repeat the foregoing until boredom, lethargy or bedtime intervene!
Foliage
The creation of foliage bearing growth is greatly assisted by the use of etched leaf patterns once available from Scale Link (no connection).
I also used a coarse locally found lichen, which, when dried and treated with PVA glue formed a good base for hedgerows and the like. To carry the texture into the background I used Noch grass fibres which were applied using their applicator to blow the fibres onto dilute PVA glue. The fibres can be made to stand vertically if static electricity is used. To achieve this I combed my hair with a plastic comb and held it over the fibres. Apart from the risk of creating scenic dandruff this seems very successful in imparting the required static charge. All the above required careful colouring and toning, particularly the Noch fibres which were of a disturbingly brilliant hue until toned down considerably. So as not to effect the delicate effects achieved an airbrush was used, colour being ‘misted’ onto surfaces carefully.
Structures
As the whole scene depicted was small I determined on having only one actual building. This was the weighbridge - booking office, based on the earlier Crowsnest Structure made in 7 and 16mm. Drawings were made for the plan and elevations, construction being mainly in basswood. The feather edge boarding was a ready milled product from Northeastern. To make this more convincing vertical joints were added and nail holes created, the latter using a fine separate. The interior boarding was modelled so as to permit the addition of as full a set of fittings as I cared to construct in the fullness of time. A corrugated roof was made from Tenmille vacuum formed plastic sheet. This was cut into scale size ‘sheets’ and the edges thinned down as far as practicable with a scalpel. Using dental burrs to thin the sheet from the underside I created ‘rusted through’ areas. The sheets were glued to the 1mm plywood sub roof and tiny cubes of plastic added using solvent to form the heads of the fixing nails.
The stove pipe was made from brass tube and the conical top turned up in the lathe. Three thin strips of brass shim were used to support the cone on top of the tube. When soldered in place the strips were drilled at the base and short lengths of wire inserted to form bolt heads. The ‘billboard’ on the ridge of the office roof was made from plastic sheet with basswood trim and end pillars, the finials were brass turnings.
Stone Walling
The stone wall forming the loading dock was made from dental plaster. I started by forming a simple mould to form a slab of plain plaster. This was created from a rectangle of plastic sheet slightly larger all around than the finished face area of the wall. On this was built an enclosure of 10mm high plastic strip, the inner dimensions of which were that of the desired plaster slab. Into this a smooth, runny mix of plaster was poured. Always mix plaster by adding the powder. Any air bubbles were brought rapidly to the surface by tapping with a finger nail on the underside of the plastic ‘mould’. As soon as the plaster had set it was released by breaking away the plastic enclosures. I laid the plaster slab on clean newspaper and commenced to scribe the stone pattern using a stout needle held in pin chuck. It is important to note that a good result can only be obtained if the plaster is worked in its ‘green’ state, that is while it retains its original moisture, immediately after setting. If left to dry out the plaster is less easy to work and re-wetting does not restore the more easily worked texture. Some of the ‘stones’ were cut back into the surface and some built up proud with a sloppy mix of fresh plaster. This gives depth to the carving and aids in the suggestion of separate pieces in a way that a flat slab never would. I did actually break my slab (I dropped it on the floor!) just after carving. After the initial ‘weeping wailing and gnashing of teeth’ phase, this was turned to advantage. I removed the capping from the broken area, carefully re-dressed the plaster thus revealed and set the broken pieces at the foot of the wall. This created a detail of realistic neglect, and added far more life to the scene. Painting was accomplished using a similar technique to that employed on the rock faces. Care was taken to ensure a colour resemblance between the ‘natural’ and ‘dressed’ rocks on the layout.
I have found, over the years that atmosphere on a layout is only built up painstakingly by the addition of small, finely detailed ‘odds and ends’. Thus far I have worked up some detail (not shown in the photographs) behind the shed. This comprised a saw horse made of basswood and some long planks, leaning against the shed wall. Under the planks were some chickens with nests and some eggs, nearby a cockerel strutted beside the track. The poultry come from the Tamiya range of 1:35 military modelling accessories and are beautifully moulded A rabbit was created by much ‘conversion work’ from a puppy in the same kit. I did not fix the rabbit in place but kept moving it around the diorama, to locate the best position.
An iron fence, typical of the area depicted, was made up complete with a gate positioned at the top of the steps from the roadway. I made a pattern for the strip iron uprights so that I could profile mill them from brass sheet. This also assisted in maintaining the holes for the horizontal rods accurately. All the horizontals were hard brass wire. The gate, with its upright rods and diagonal brace was tedious to make but looked effective once in place. The fence and gate ran to a timber gate post.
To add to the wildlife I made up a simple plaster for casting a small bird shape. This was formed so as to admit the enclosure of fine phosphor bronze wire as ‘legs’. The rather crude castings need a good deal of careful filing to give a good appearance. After careful painting to conform to a particular species they add another, oft neglected, detail to any layout. I used oil colours for such paintwork, as they blend far more satisfactorily than other, quick drying media.
Planned but never added were, a horse trough and cast iron water pump, a coal scale and some sacks. I did make the pump but never fitted it in place. In addition there were all those other little details I had not thought of at the time that only come to mind as further study is made of the scene created. I am also very conscious that more needed to be done to increase the effect of undergrowth, this being quite difficult in a large scale, I found.
Locomotive
The only locomotive was a model of W.G.Bagnall works number 300. This was mainly in penance for my first ever published article in ‘Model Railway News’ - if you know the piece you will sense my shame. It was fitted with a Faulhaber coreless motor with an integral 59:1 gear head. The output shaft drove onto the leading axle via 1:1 helical gears made from steel and phosphor bronze. Current collection was via plungers bearing direct on the backs of the nickel silver wheel tyres. I found this most satisfactory provided thin, flexible wire was used to allow the plungers freedom of movement. Most of the models I have seen fitted with ‘unsuccessful’ plunger pickups use wire stout enough to carry house main voltage. Construction of this model was described in detail elsewhere, so I will not bore readers by repeating myself. An internal combustion engined loco was contemplated but never begun.
Rolling Stock
Wagons actually built comprised a rake of three tippers and one flat truck. All of these were made up on cast brass (lost wax) bases with 9mm diameter curved spoke wheels. The cast bases were modified to accept Kadee draught boxes into which were fitted Alexander link and pin couplers. The tipper bodies were fabricated from a ‘kit’ of parts milled up on the pantograph. All the rivet detail as embossed using a press. One of the chassis was cut and extended using a scrap base casting. This was fitted with an etched brass chequer plate deck and milled brake column. Brake shoes and hangers were fitted also. The flat wagon was a cast chassis with a simple plank deck, suitably distressed and detailed. I added some platelayers tools and a rusty oil drum to make it interesting.
For passengers I planned to make a small coach up based on the early Corris Railway tramway four wheelers. Also a four wheel Van based on the smaller of an unusual pair sited at Borth (see ‘The Plynlimon & Hafon Railway’ by E.A.Wade).
Electrics
With so simple a track plan it will come as no surprise for readers to learn that wiring etc., was quite rudimentary. With only one locomotive all the rails were live, polarity changes being made at the turnouts using switches operated by the operating mechanisms. All the rails were however, isolated one from another so that if and when section gaps were required it would be a simple under the baseboard re-wiring job.
Control was by a small hand held controller made up by Mike Brown. The design came from one published in ‘Model Railway Journal’ especially for coreless motors, and very good control it gave too.
Another One Bites The Dust . . .
The silence afforded by use of coreless motors made me interested in experimenting with sound, not just from the engine but birdsong, wind etc., to give a total effect. Needless to say I did not get that far with version three. Although a move of house did not rear its head (at the time) a move of studio/workshop did. Out of the front room into an extension built onto the side of the house. At this stage I sold ‘Crowsnest III’ to a well known collector and invested the funds thus gained in new workshop equipment.
The Future
After the layout departed to its new home, I did what most modellers do from time to time - I procrastinated with regard a replacement. The new studio filled up rather too rapidly with essential items and currently I see no easy way of accommodating a layout of any sort. I have to sort out my bookshelving in the near future however and maybe, just maybe, I will squeeze in some trackwork.
Having started modelling this fictitious line over twenty years ago I find I cannot leave the concept alone for long. Suffice it to say that ‘Crowsnest IV’ is being pondered on even as you read this. Will it be in 16mm scale? Maybe 1:32 still attracts - I do not know yet, though there are currently locomotives being built in both sizes.
Version III described here was more successful than version I as far as running, but had little operating potential. Neither did version I, I suppose, but at least it could be operated as a shunting puzzle. Current plans under consideration see a return to the ‘puzzle’ approach - with the benefit of past experience it should now be possible to make this work well.
References
The Mawddwy, Van & Kerry Railways, Lewis Cozens, Oakwood Press, 1972 reprint of original booklet published by author.
Excelsior, Roy C. Link, Model Railways, September 1974, pages 428-430.
The Crowsnest Tramway, Roy C. Link, Railway Modeller, February 1979, pages 50-51.
Excelsior: The cover story uncovered, Mike South, Merioneth Mercury, Issue 15. - A delightful mix of fact and fiction that caused some angst at the time - and later.
West Somerset Mineral Railway, Roger Sellick, Pub. David & Charles 1962
Model Railway Journal, Issue 1, Spring 1985, pages 30-33.
Narrow Gauge & Industrial Railway Modelling REVIEW
Issue 19, pages 89-91. Issue 25, pages 3-8. Issue 26, pages 39-47.
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