ADVANCED TERRAIN MODELLING Richard Windrow ™ ° a SS ‘An advanced guide to building and finishing model landscapes for any type of layout, diorama or vignette = Hundreds of colour photos = Step-by-step instructions = Ideas for more creative modellingOSPREY MASTERCLASS Advanced Terrain Modelling Richard Windrow cries editors Marcus Cowper and Nikolai BogdanovirCONTENTS Chapter 1 Chapter 2 Chapter 3 Chapter 4 Chapter 5 Chapter 6 Chapter 7 Chapter 8 Foreword Materials, tools and tips A First World War trench A motte-and-bailey castle Fall in the forest Techniques Awalled garden A Second World War street Sources Index 16 77 107 127 157 186 189FoREWworRD bou five years ago I wrote + Look called Termin Mod for the Osprey Masterclass series co my surprise and pleasure, it wos wel ceived by many modellers, and Osprey Publishing have now d volume, My frse thoughe was thar asked me to produce a se fonce you'te writen a book on how co make 1/3Sth-scale mud pretty much said all there is €0 say fon the subject: but on further ‘thought I realized cht in the incervening time new products had come on ro the market ~ and, indeed, I had learne one oF «0 rnew wrinkles about how achieve different effects in my groundwork. However stil fle that chere ceded to be a definite differcace between this book and she firse— there are few things more aerating than buying a hook but finding that ies only the cover that has changed. In view of this 1 decided co add some more man-made objects to che scenes, ther chan just Serving up more ‘scale model die’ anced Terain Modeling I have tmied to cover the creation of some differene basic terrains, and this sime I've added a few fel fications and bunldings, as well as phorogeaphing the resus complete with figures for scale though I hope readers will not look coo closely at the latter — Tam well aware that Faced quite a bit mote practice before J reach the standards of a dedic: od figuee painter). Once agnin, ! hope to make life easier for those of you who find ie a bit of a seeupgle co create ealisticclooking groundwork ingly complement all che skill ind patience that you have put into sche main subjects of your models. ny ne to ensure that everything, add enough details ro the s is not always obvious a¢ Fist glance. My approach is rather lke those wondetful Giles cat shar older readers may remember From the Daily Express back in the 1940s and 1950s — you never saw nnatuelly catnot assume thar everyone who buys chis book has read the frst valuime, so I hope that chose of you wha have will excuse 2 bi petition where J think ie necessary for new seaders The most obvious instance of my repeating some of the original wok is in the chapter of advice con materials and tools fa the ng years I have come eat new products that I now use in place of some 1 ‘mentioned originally. The other repetition is over the question of how go make model tres. The first book covered this in rather greseer detail than T basic advice on this sut hers, but ro omie jest would leave a fairly importane gap, s0 I've red a it in the logical place tn Chaptec 4 om Fall io the Forest Woile most of the models in this book are built co 1/35th scale, materials and techniques I discuss can be used in almost any scale, and for models depicting any soxt of scene from any period of history. All you need do eo make them appropriate to your own subject i pictutes carefully, and plan your 1 seady reference groundwork accor ingly. also repeat the most basic piece of advice from Terran Modeling: gee yes — the eeal thing isthe best reference of all As any hon w books ca8 be written without help from a number of ‘other people, Space does not allow neo lise everyone who has contribured eo my modelling over the years, but I do wane ro mention just a few who have helped me ia Aifferene ways: Charles Davis, for providing and palating the figures in che "Walled Garden’ mod he Peery ewins, for generously donating the Figures for the Motte-and-Bailey’ (again, my apologies for the paint job) Lynn Sangster and his crew at HistorenBob Wyate of Seale Link; Tim at the AD Model Shop: my son Scephen for his beautiful photos of nature im alls glory: and lastly co that small, select groep "The Ssturday Breskfase Club’ for their constructive heckling. My sincere thanks to you all, wheth:r your ed on the One final illustrations inthis book. When it comes to photography. 'm completely lost when the conversation turns to such arcana as stops’ and “depth of field’, so ro one was appice thin I when finally gor a digital camera. All che phorogeaphs were taken with 3 Fuji $6022, withthe selector firmly et on automatic, Unless otherwise sate, all she pictures are the author's So, here we go again; I do hope that some of you out ere will Find something in here that will help you cate thar special diocama Rickard Window Kew Sepember 2006MATERIALS, TOOLS AND TIPS MATERIALS, TOOLS AND TIPS All the contace details for the outlets named below can he found in the chapter on ‘Sources’ at the end of this book A: am sure most of you have L done, over the years | have collected a member of tools and materials without which I doce chink I could function 28 a ‘modeller Although I covered many’ fof these in Terrain Molin, For the benefc of chose brave souls just starting out on the modelling trail (0) Clayretepopier maché i the bese ‘groundwork material that usualy ‘se on any diorama baseboard (2) A bber mixing bon sides! for both this material and for plaster: f you tex the bowl most ofthe died resive ‘wl us fall out without scraping, 1) Avarety of brushes tat | use both for smoothing the wet groundwork ard for covenng large areas that need tobe painted, These ae very cheap and can be lscarded when they've become too ragged, When this happens | cut some of them very short and use ther tereater for senciing, or applying pastels and weathering powders (4) Valeo age paint are my favourites ~ they cover realy wel, and the ‘syechopper’botes prevent ‘them drying out too soon if you leave tne top off ny mse, (6) A couple of very Hexic palette ives, as used by ol paintes, can be backed up with cheap plstic spatula for more general wor, (6) The Supertast Wood-Stck two-part pony adhesive from Symasta has many ses asthe two parts come ina single ‘al, you can't get the mix wrong T think i help to eepeae brief details of the ones tt 1 use mast often when building a diorama or vignette. The list does not include items necessity £9 complete the actual model that you are placing inthe dorama: firstly, there are any number of good books out there by master modellers chat wil give you all he help you nged om that subject, and secondly, T dont count sel in shat clase, What follows i an idea of the bases needed for making your groundwork, Sy Eis aoe i MATERIALS BaseBoaros The firs thing you need For a diorama is obviously a good baseboard, and Ive ered a few Affecene materials for this purpose. The most important ching fom ry poine of view is that 3 baseboard mast nor watp when 1 add plaster or‘Clayerste’— x tis point the board is obviously going to gee wes, For che diorama in Chapter 4, A Walled Garden! used » product new to me that | got from the Micro-Maek company Gdin the USA. This ‘Gatorfoam board is very ight but very tough, compsising a layer of oar sandwiched between two layers of veneer, mezsusing about 10mm x 457mm) snd Yi (Srmen)dhick. T have pplied plaster, papier mac, lig lle, pants and stains co this board, and when it dries ie does not warp ~ even when coated on one side onl Although an excellent product Garorfoatn is noe always the (1) The ‘Ary pump-p spray bottle, which s much beter for misting water your model than the ‘more boisterous spray bottles one normally find in shops. (2) Mission Models ‘Mult Too’ | use this for fuming rings rom bass wire 0 fod. Ls stepped down along its length, s0 you havea variety of diameters avaiable; and it you need ‘more than one ofa size, you'll be able to repeat it exacty cach time (3) The ‘Oe #-Cutter scoring tool for (4) Aroler cut the trade name ‘DAFA’ these ae aso marketed by Oe (S)A12in metal sary rule Hol it fat Jwith your finges behind te central Fidge and, f your knife sip, your ‘eends won'tbe refering to you as (Ol Four Fingers (6) Some Swan modeling knives: my armoury incuces one with 2 hooked blade for caning ticker bis of wood (2) ThsHine-mesh flow shaker i ide for the even application of the particles of finely ground scatter and static cgrases. You can get coarser-mesh anes for more heavy-duty materials, These ‘may seem an unnecessary ln, but the extra contol they give is mc bbettar than saterng by hand,‘The guilotine that | use for lengths of plastica oF wood that need to be ofthe same length or ange when it will be found coo thin t0 be used for particular subjects. The other material that I ase ~ in the test of the diotamas in this book is polyse form, about 19%/n x 13in x 2in (800mm x 300mm x 50mm), ne. [get this in block which gives me a sutface nto E wohich [can cut dishes, wells OR oo trenches, ete: and if 0 isnt 2 THE. CHOPPER deep enough ~ as for che Western a eae Front trench model in Chapter 2 — shen I just stick anocher on cop. I get it from a company specializing in industrial packing materials, and this is probably the bes place normally add whatever colouting __Clayeree dries out and loses ies to look for it. Once the mol is water with flexiiley sometimes cracking after finished, you can make up a which I mix che Clayceets, so that period of me, oF lifing from veneer Fame co cover the when i the model the baseboatd. 1 must admit shat exposed polysyrene edges donit get those iecitatng lite spors ve never had these problems, but of white that sways seer to get this could be because [also adda Cuayerere/Cetuctay mised ous if 1 paine it afesrwards, lie whie glue eo he mx, which The material that probably gets che T know some moles find hops i to retain a bit of Banibiliy exe most frequent use across the aeatese number of my dioramas is CClayerete (or ‘Celuclay’ = I'm not quite sure which name is used in the UK and which in the United States, as Thave bought itin the UK under both nares). This is an insane papier mac co which you juse add water, and then lay € 0 in mach the same way as if you were using pl | good qualty fter nas is very necessary when working with ary ‘material that wl crate fine aries, sch a ein,A hot lue gun is ial for joining large blocs of polystyrene It also lengthens the drying time, but nce enough to bother me. Another plas, as far a8 Um ned, is chat if you keep your mix s9 a bowl oF containee with a id, i will emai useable For at least a week PLasteR When it comes ¢o making items with plaster, [ prefer t0 ase Ebethard Faber Ceramic Casting Powder’. This comes in « dries considerably more quickly and toa harder finish ehan plaster of Paris or Polpfilltype compounds: it also retains ies hice colour better and longer, if that is che effece you wane, Fuse it for casting parts for buildings (see the ‘Morte diorama, Chapter 3) for casting rocks, and also as an underlay snow eff For plasterwork actually on the model, as opposed to making separate items ip moulds, T use Woodland Scenics ‘Li Hydrocal’ plaster This is us sealing layers of re aster bandage ow) and for filling in gaps cor crevices in cock work, PLASTER BANDA Plaster bandage, often sold in the UK under the name "Mod-Roe When making up a section of roundwore that needs to be very icregular or lampy, I normally use odd scraps of polystyrene as a foundation. (IF you ever buy some of the larger electrical ieems such asTVs ot computers, you'l ind they are usually packed in ecough thick polystyrene to provide you with a generous stash) Carve your lamps roughly to shape, stick chen jn place, and then apply the indage, Sit the roll, dip it in wa nply take a length from smooth i€ over your ‘lumps’ ro blend chem into the baseboard Hyd ‘0 give yourself a good The hot kn kt for carving up lumps of polystyrene and shaping them.surface for colouring, attaching scatter’ and so forth TE lumps of polyseyreae aren't available, then you can simply take newspaper, dampen i, sind make ic mnto balls or colled lengths Aceach these to your baseboard with white gluc, and then lay your plaster bandage and plaster ADHESIVES The adhesive I mostly use on a ddiocama is Woodland ‘Scenic Glue’. This holds most types of groundcover in place, and has the advantage of drying co a clear, mate finish. IF I want a spr adhesive chen I use the same maker's ‘Scenic Cement This watecchased adhesive also dries matt; the makers can provide a spray head to attach to the borele overing large areas. ‘Another useful one, which I ges the 4D Mode! ‘Green Flock Adhesive’. This isa hop. is called faicy chick glue ina tin and suprisingly enough ~ i green. eis obviously meant for sticking down flock, bue if you havea large area of (1) Woodland Scenics Realtic Water, 3 honing resin that | use for water (2) Snow Seater fram The Smal shop EUs this isan ex litle goes along way. (2) An aerosol of Faus Fabri th hse for ading texture to smooth suraces to replicate cloth several ayers give a coarse fish for sacking (4) Wenther Rite, for producing an aged fetect on Wood. | use before acting pastels a get ferent ares of colouring fn old, damp ar rotten timbers (6) Lose ths Blackett chemical or darkening most metas, butt does nat work on aluminium or tamess eel (6) Woodland Series Water Elects. his for creating pales, and for white water such as rapids and water (7) te-Coat produces an excetient smooth, sippenylooting surface on frozen water, and is algo useful when making icles.(1) Woodland Scenics static gras lock comes in a large container with a doublesided tip-top lid 50 you can se one side for scattering ang one to ust pour it out. (2) One of the jos of eaves avaiable from the Nech company; they make several diferent colours, and Gagemaster ate the UK importers (8) Green Scene’ Flexi Bark, which rakes 2 textured fish fr your tees. has several other uses as wel, making it | goed addlton to your grounswork _aemoury: ts supplied by 4D Mele, (4) One ofthe many other shades of static gre avaiable diorama to cover with a saic geass or other seater material sing this ahve will ensure thar geen i he only colour that will show through. like she ewo Woodland Scenes adhesives, however, this one does ot dey matt, 0 you need to be sare itis well oveed De Luxe are a company who specialize in adhesives, and chee range of products can be obtained an the UK from Gaugemaster Contes. (They also make a very good ruseeffect product elled ‘Real Rust’) ‘There ae occasions when you say need to use a eyanozerylate lve (superglue), but hopefly this wil be the exceprion cathe dha the rule, I the cae shoul vise i will help the adhesion if you dampen ‘one of the surfaces to be joined before applying glue to the othe. For sticking foliage in place on tees Tuse an aerosol ean of photo mount adhesive. Some of my fiends use 3 can of unperfumed hhacspeay for this job (avoid a perfumed one, or you'll get some funy looks when you enter your ‘model in 3 competition). Grounocover There ate far r90 many eypes and supplies of groundcover fr me ro Use ther ll hee. ‘The bes hing to do isto get hold of the catalogues that ae available from veel all che compies tha isin the final ‘Soures’ chapter and make your own choice. wll mention, however, 2 couple of those suppliers whose products Ihave found eo be most, useful for groundsoves Gaugemastr Comal ple This company markets a large range of model allway equipment and accessories, but they also sell a range of their own grass mattings n and some groundcovers. They are also main agenes for Nok ho market a wide range of scenic materials including excellent individual leaf scatter; and for Faller and Prose, these last ewo probably being of most interest co modellers in che smaller scales, since tele lines ate produced for the model railway cachusiast. Weadloed Sais (USA) “Two forms of “netane water are available fom this company. The fist is Realisie Wace, for cxcating sill ponds, puddles and savall seams, Teis a one-pare resin sequiing no mixing, and ean be added steaghe tothe model. The second is'‘Water Eee for raking more earbulene effects such as rapids, watefills or ripples onche surface of deeper waters soothpicks or a toothbrush can bbe used to shape these. Woodland Scenics also make polyfibre wadding, whichis very useful for making the basic shapes cof bushes or foliage for t2ees, £0 Which you can then add your own choice of seater co represent che leaves, Teased out, it ean also be used for geound-rovering vines or slender toot A wide cange of static grasses, in a variety of seasonal colours, ace available from this company. ‘They also sell a varity off differently excured foliage, made feom ground-up foam rubber. The textures ange from very fine © very coarse, and can be used for a multitude of dlfferenreypes of foliage and _groundeover. AD Model Stop This fern supply a cange of scenic taterials unde the name of ‘Green Scene! These include ‘Flexi-Bark’ an excellent compound for adding texture to your tree erunks; pre-colouted leaves by the ‘Little Leaf Company's ee kits, and several other products. They also carry a very laege cange of plastic sheet, rod and eubing, plus a whole host of other modelling products. They are a most helpful company to deal with, and T ecommend thae you get hold of their catalogue. Apa from these specific suppliers. dont forge that grass matting is available from almost any model railway shop, 35 well as some of the more general modelling outlets. Ths is good for use as any wellemown grass area, eg, lawns oF aieields (1) Algo avaiable trom 40 Modes, this pre-oloured Green Flock dese helps wien applying green seater to 2 light-coloured baseboard, (2) Woodland Scenics Scenic Gs is 2 white, PYAIype adhesive at dies completely matt (2) Ther Scenic Cements aliquid sahesive which you can apply using tthe a spray-botle or brash, (4) Zip-Kecker accelerant for use with supergive (5) don't use supergue neary as rh as the other products hee, but ere are tmes when i i sel to have some a hand. While on the subject of sgroundeover and leaves, Ilka use 2 number of natural herbs: ats of dried pole, chyme, ce. make wondseful scares for fones scenes = sce the photogtiph on page 15. Take a look next tims youre io your local deli or supermarket Too.s The armouey of tools needed to zeae groundwork can be a8 simple or a compuchensive 38 you wish co make it. Obviously over the years I have collecced a number of items that make lif eases bue are noe absolutely essential; you may find cone oF (vo of my suggestions cost rather more than you'e prepated 9 pay, oF you might just think chem tunnecessary, but noe investing in hem will no stop you from eating liste proundwork Probably che mose base items will be a jug for water and a bowl co mix materials such as Clyeeete snd plaster, le mks life caer sf yu can get a flexible bowl; the oneose is rubber, but if you can get faily soft plastic one this will do yost ae well, Having such a bow! sakes the chore of cleaning ded you use flex the sides afew cies, and most of i deops ou. Thave a couple of cheap plastic spatlss for mixing, but I also have wo vry flexible steel arcs’ plete knives. These come in handy when I have to apply rally smooth laes, such asthe undeelay for snow ~ the blades can be flexed toe almose residue much quicker — perfectly fla eo the surface of ehe plaster: They ae also handy when laying plaster oF Clayerete over uneven areas, since they conform more closely than a stiff spatula to the contours of the model [Any beushes you use for applying achesveo¢ plaster should obviously ie the cheapest you can get since theyll be no good for anything clse once you've used them, T mentioned above that you ean spray Seenic Cement on toa model (1) Timberline Scenery inthe USA supply several uel groundcover materials and scatters. This one is intended for use when making a forest floor, and comes complete with Pieces of dead wood mixed in {@) Siler isa German company wa have a wide ange of ceric materi. At the moment I can get thes ram Seenic Express in the USA! have nor yet found 4 Uimportr This particular materia i 1 mat of beech te leaves that you can stretch out ove the frsmeork of your ‘ree. They make seve other types of {tee cover, all using the same principal of ste mat. However there wil be times when yous wane ro secure, say, yee of Tea sete, andl an ordinary spey bore would probably blow them off eather than secaing thes In these eases use 2 wsfil ile item called Ancy’s Spray Bote’, whi comes from Fibrecraft Led. This is a efile plat Boel tha works like an aerosol; once you've filled it you use a pump ~ which is supplied ~ to pressurize the botle, and then just press the nozzle likes serosal ‘The resultant spray is much finer ‘han an ordinary spray bel: done hold the bore eoo nese the model, and you can jse mise the surface ith Scenie Cenene withoue ending up with paddles of adhesive lying around. As well 3s 2 pump, the bortle comes wich a spate nozzle One thing I should add: when you have finished spraying the adhesive you should release che pressure by ‘unserewing the cap slighely then cake our the nozzle and tube and pour the remaining adhesive back into ies container, Fill the spray with warm wares eeplace the spray cube, pressurize it, and blow the clean water through che nozzle co clear out any residue. IF you dont, youll find thatthe whole thing has seized up next time you want to do have one or two tools which, while nor strictly necessary additions to your arsenal, do come in very handy when working with the polystyrene blocks. The fst is1 Powder dies wthin 30 minutes and very strong; when st, ie much work with than the softer hard Faber Ceramic Casing plasters, (@) Woaaland Scenics Lightweight Hydrocal plaster i sel for making up large aces of groundwork, since it doesnt weigh as much asa standard plaster when dry Forgetting to allow forthe weight your baseboard wit eventual have 10 bear can lead to miiatre tragedies ‘when you move the fishes model (3) don't use this inen these ays, but Poli perfectly OX if nthe ofthe above plasters is avaliable 4) Aol of plaster bandage can be fun in almost any goos ‘adel shop; this one som Peco, ‘and anather weltknown brandis Mod. Roc. ‘hot knife’ ~ an electrically heated to seal off the cur edge rather like getting into your lungs). Obviously blade. This cuts through the cauterizing a cut this means that dhis «tool that should only bs polystyrene much more easily chan you dont ger thousands of finle used by an adult; the blade gets hoc cordinary blade, and also tends beads of poly flying atound (and enough co cause serious burns The groundeover trom the Noch company is fie rough gras, 69, for meadows, which has small pieces of materl mixed infor ever (@) Ts s deer nak, when can be bought rom shops tat supply angers thay vie it toe fishing ths, b fd tel for ees and long grates Ie comas as a small ectangle of cued eersuin with the har attache, and you jst eut 4 the length that you need, tis available in about thee diferent colours the one shown here; a ¥en) dark, almost back-gren; and one that sbleached almost white (3) This isa piece of the fan coral that | used in the is the Fores cama. | bought it years ago at a boot fai, and | use bis of teach time | need to make serall oots- sparingly since I dont oo when | il find any mareA selection ofthe grounct.up food products that | se most often for forest liter or the detritus you see under hedges. They areal sighty Aative-anv-a1i0W y(OPPOSITE TOP The three blocks of polystyrene forming the base have been ined side to sie, with some of the defensive ditch cut inte the surface. The faint pene line inside the alley atch is 4 guide to the width ofthe area where the palsade will eventually be paced (OPPOSITE BOTTOM The moun, covered with pster bendage and topped with Catorfoam board, beng covered with Clayeret, (Once I made the mound, stuck it in place with hoe glue; then glued a fon top, eo act as a fem base for the +e of Gatorfoam board timber keep. I covered the whole thing with plaster bandage, and coated that in tuen with a layer of CClaycrete pre-coloured by adding Burne Umber acrylic to the water 1 chen lee i all to dey; with amount of Claycret that can take a couple of days, but there was plenty of work to do in the meancime Keer The keep started as a cardboard vox’ with ¢ ate holes 1 approp cut in for doors and windows. This was then din steps of basswood, scored with « grain pattern using an edged rool, and stuck on with white glue. I then 33 Before and-after views of couple of pieces of the Mio-Mark Boarc-by. Board Siding: 5 looks when you buy and ater being scored with a grain pattern and stained with berine Scenery. her Rite from ined che wood with a product ied we Timberline Scenery company in the States. This produces a nice ‘ald wood" effect and you can coorrol the age’ by the rrumber of washes you apply. This fs not a paint but a chemical stain which works ies way face the suiface of the wood and does rot hide any of the detail ‘The scoring too that | use For adeing ran to my timberwork | was given tis by master modeler Tory Greenland iis actly used by cobbles to spread glue when fxing . ew sles shoes, but Tony scovered thats ideal for masking Zimmert pattems on hie Panzer, and | have found it perfect for scaring grain into wooden sutaces.The piece of oard-by Board Siding sed to make the keep root, before staining. Extra crosswise marks have been scribed where the plans butt endtovend The man keep door, made inthe sae sway as the trapdoor ron strapping is pasticard strip, the root, The rivets are punched out witha Hstorex ‘ound punch-and.die st, and the ron sing is bras sui anneal’ and formed aroun 2 Muli Too, attached with supergue. A close-up of one ofthe covers forthe crossbow ports inthe keep wall, hinged at he top like the gun ports on aeip,55The gateway inthe keep wall ‘The keep, finished apart fom ading the castlated parapet around the roo37 ‘The completes keep set on the 10p 0 the mouod, withthe outer timber wall and gateway in lace The nevt task was f of the keep, which w: oa pre-marked sheet of thin basswoo. which hae che individ stuck together wie replicating the joints between planks. You can get this fiom Micro-Mark: itis sold as ‘Board by-Bosrd Siding’ and comes in four differene plank widths. The markings only run the lengeh of the sheet, so you have to add che marks where one plank bucts cend-on to another. Having marked my s stuck iin place and then buile the trapdoor that gave access to i since the roof doubled as a fighing acform, I made this separate + the hinges and thening lifting ring for ease of working and th foxuned around a Mission Models ‘Malti Tool The hinge «snd bands were pained with acrylic Mate Black ace th B romwork in place were punched MIG Ruse weathering vlet The cvets holding the cout of piasticard sheet, using the Historex octagonal punch-and-die ‘ool, and fixed using a small brush and liguid plas used pretty much the same rechaigue to build the door to and the covers over the ‘windows’ — aceually, smal ports for bowmen, The placing of the keep doormade life difficule For attackers: removable ladder was kept inside on the second floor, and could be pulled up in the event of an enemy breaking chrough the lase defensive wall around the top of the mote. The ground floor was used for the storage of food, weapons and all the other essentials of life for the smal garrison. With the door in place, I then sade up lengths of catellated timbers for the defensive wall around the top of the mound. I cuc the wood into two lengths snd then stuck one short piece beeween each paie of che longer pieces. When T judged I had enough fora length of wall [eld ther all together with masking tape while sticking a fength of thin wood strip along the inside fice. 1 kept chem lined up in the meantime by bueting them along a stragh-edged coal. ‘The castellation around the rop of the Keep itself was made in the same way. Once this had been stuck in place. T made che sentry walk thae ran around the inside of it, once again using basswood scoted to show the joints between boards and stained with ‘Weather-Rite. I stuck wooden supports under these strips and chen fixed them to the eoof Filly, L made the gateway foe the wall cunning around the cop of the mound. The grille ovee che ‘peep’ in che door is made from 3 small piece of metal mesh. With the walls and gateway complete, 1 fixed the lengths around the mound by setting ther in Clayevee, which [then coved with clamps of grass Patisaves ‘The next job was making the palisading to go around the bailey and a faily lengthy and boring ne ic was, t00, I ad boughe several bundles of wooden skewers; Teut thee al zo length, leaving the poinced ends as the sharpened upper ends of the logs. I roughened up these points. since the logs would have been. sharpened with axes and would not have had beautifully machined tips: I then added a chin layer of Flexi-Bark to give che logs a slightly roughened finish, Since the palsade was to be embedded in che ground, I needed asidge of earth cunning right around the bailey and extending inside the palisade widely enough co represent the senery walk around it, To avoid having lay t00 thick » mound of Celucay I frst made up a coll of soft enetal sesh and glued this in place on cop of the inner edge of the ditch, flactening the cop of the roll co cake the walkway: then I worked round the edge of the bailey, coating chs with the CClayceee a bit at a cime, I needed to be able co plane al che logs in the eaeth, and I obviously could nor get cher al in place befone ie dried if I had spread the Clayeeteaconnd the whole cizcumfecence in one go. Emplacing the logs one st atime was the ros laborious pare of the whole project, but eventually che entie palisade was Finished and could be lef to dey. ‘While I was waiting. I made up the paisade that closed off ehe inner end of the bailey from the motte ~ this was a simple log barricade wichoue points at che top. Using more of the wooden skewers, Tcut che logs to length and then stuck 2 few a¢ a kime together with white glue, so asco make a number of shore cans of logs, which Tonce again coaced with a chin layer of Flexi-Bark Before the glue had had eime to dry I put cis palisade in place; since the glue was not completely see I was able to form the sections into the cutve necessary co match the base of the mort. I ser them in place in the same way as before, pshing them into a low, raised mound of ‘earth’ I made a simple siomber gate co set in this wall, with plasticaed bracing bands and studs, inthe same way 35 the keep door and gate By now the main palisade had died, so I gave ita coat of Vallejo Weathered Wood acrylic, and faire the bortom of the logs into the earth with some more Clayerete, Asa fnal touch 1 added green scater for geass and weeds growing up tothe logs.Making up the runs ofthe pain logs that form the pasage that closes of the rear ofthe bailey fom the mound “op, plain wood, then with coat of Fes-ark; bottom, 2 thin wash of green sci, and fly dark brawn wetsh The crudely sharpened lengths of ‘wooden skewers used to fom the defensive palzade around the bale, being se nt si nv this case they have rot yet sen coated wth Hles-ark, 59A MOTTE-AND-BAILEY CASTLE Making the steps fr the umber stairs Up the mound. By tial and ero | Four ‘thatthe easest method was to clamp a black the same width as the treads between te side rails, en to fix in the first and ast steps; when these were securely dry | remaved the block and finished puting i the remaining treads Morte STAIRWAY Now the main elements were in place, Vad eo ge the folk en che keep a means of getting up and clown the motte: this meant constructing 2 farely solid timber seareway (too substantal robe called a ladder), Fang co find a ready-buile one in the eighe scale, I had to go back to the deawisg board ~ I could see another Iabotousy repetitive job looming cp. (A guillotine tool evaluable when you have to cut lots of pieces = of either wood or plascicard ~ eo the same length, and is also very sel when curting angles.) Once gs using basswood, | strted out bby making the two side sil, cut the steps and chen put thefts one sn place, This turned oue wo bea total disaster since as soon as J applied pressure ro hold the fist step i place the side sails promptly sprang apart atthe other end (a smarcee modellee would have thought of thac in che fest place). I solved che problem by cutting a block of wood the same wideh as the seps and clamping che side ‘The stair pater, astray accused by the lady af the castle and her bodyguardrails co it, one ether side. This enabled me to glue the firs and last step in place and, once these had set. I could remove the black and fil in the rest of the steps. In reconstruction ceawings oF such assemblies I had seen a sort of landing halfway up a long stairway = presumably a fighting platform 0 farther complicate an attacker's approach to the keep — so I made Lup two separate runs of steps. T ‘made the platform and its timber bracing and rails from scraps of basswood, and glued it ro the face ‘The small tre that | ‘grew atthe ear ‘of te motte, oF abit of variety. don't row quite wy, but I ell Hike the way this turned out eo The two Sets of steps, together withthe platiorm haltway up in place on the completed model of che hill. Once all the timbers had beon stained with Weather- Rite, [ghued the vans of seeps above and below che platform. Grounpwork ‘Wit all ehe palises in place, I marked out the arcas inthe bailey where buildings would be placed, and also — using masking tape — where che pathways would tun Then, using a very thin layer of green acrylic paine and an equally chin layer of ground seater, I added chase ateas that would be covered with fairly erodden-down, scrubby grass and weeds, Ar this stage [also covesed che motee withA MOTTE-AND-BAILEY CASTLE faily ine green scatter, and stuck. ‘on a shrub growing from the side (of the mound. Then I covered the whole of the groundwork around the outside of the defensive ditch with fine ground seater, and made small stand of sheubs to the rear (of the motte from a rather coarser scatter, in which I planted a small tree (just for the hell of ie — I was getting mesmerized by all chese flac green bits). THE BUILDINGS IN THE BAILEY “The buildings wee all constructed using the same basic method a ‘atdboard former with the necessary windows and doors cut out, which was then covered wich one of a couple of different finishes ‘The cardboard walls and gable ‘ends were cu out and placed on 2 jig: this consists of a steel plate with the edges turned up a 90 degrees with a number of song magnets which ean be snowed about the plate (inthe Photos the magnets are the pisces wich holes cried through che riddle) put one end gable and cone wall of che fist building on the plat, with the joint of the corner st in one corner of the plas. This held the ewo walls 3¢ fighe-angles ro one another I hen placed one of the magnets o hold the end gable agsinst one side of the plate and the other to hold the wall co the adjacent side. With the walls femly secured I ran white sue down the inside jones ac che corners, and added a piece of matchstick asa brace, Once they were dry. I puc the other wall and gable in place and — using a pair of cngincee’sstel ighe-angle blocks on the outside, anda pair of magnets gripping these from che insce ~ 1 glued che remaining bes in place, adding matchstick braces inall che corners. Next came the roofs; these were simply pieces of cardboard cu co fix, bue not butting together at the ridgeline ~ I needed to have gaps for smoke holes in he final roof cladding, 1 used a sliding damp to hold the roofs in place, and a pair of jaw clamps to secure the cimbers that were to be added to the caniboard formers For the wall cladding of a couple of the buildings I needed to reproduce a watele-and-daub fect. This was relatively easy, since 1 had made similar buildings for a :maseum in Switzerland; for thac job I had made up panels of woven fibre, and my good friend Gerry Embleton, of Time Machine AG, hhad made me some silicone moulds from ches. I had aso had moulds made up for thatched roofs and ‘hatched ridgepoles. I mixed up some Eberhard Faber ceramic casting powder (not plaster of Pats = [find chs 190 soft), and poured this into the moulds. This casting powder sets in a much shorter time than plaster of Paris and you can ‘ip che mouldings out in half an hout oso. Using this method I was able ina fatly shore time to cast a number of wattle-and-daub panels, some larger steaw- and reed-tharched roof panes, and all the sidgepoles that I needed, The fist house was to be a timber-famed building with wattle-and-daub panels between the timbers and a roof thatched with straw. I attached the timber framing directly to che cardboard: then took a panel of the cast infill and cut the shapes necessary to fit between the timbers. Because the ceramic castings are 30 much steonger chan plaster of Pats it was quite easy to shape the panels with a jewellers saws I fixed them on with PVA glue The ceramic castings of the saw roof halves wete put on next as with the cardboard roof, I did rot butt the two halves together, since this gap would be coveted by the east ridgepole. Taking one of the ridges, T cut iin half and chee cut piece off each half, so chat when ic was placed on the roof I had a gap in the middle forthe smoke hole. (I had deliberately cast all the ridgepoles longer than any of the buildings, so chat J would always be able to make up the right lengths.) When everything had Avie T painted the wattle panels in a thin coat of OM White aeylic to represent whitewash, and Jer smears of this get on to the timbers as well, The roof was painted a diety straw colour, and the smoke holeMaking up the cardboard formers for he bukdngs on my magnetic 9, The ‘etal biock uth a hole i the 4 magnet, holding the bung tight against the ie ofthe fg, wth engineers nghtongle blocks up against the outide of the vals. Note the short lengts of matchstick set inside the commer to pronde bracing forthe owns the cardboard formers need to be nid when star adeing the paste Claddings to te out, ‘The two types of clamp wsed for holding the roof and tmberwork in place on the cardboard carcasses Silicone moulds which | used for casting the plaster panel of cladding. The Lasting here ae a large reedthatched sot pane (tt) a length of wattle-and. {ub (top ghd, above a length of timber fencing: a thatched ridgepole (env) and a rarrow stip of thatching ‘that ca be used or several diferent applications (bottom) Tbr 63‘A couple of thatched roof panels ‘The timber frame buileing under construction, with ier upaghts ‘glued in place and wate-and-daud panels ited between them, Unlike softer plaster of Par, the Eberhard Faber ceramic plaster canbe cut cleanly with jewelers sv, so ane cast panel can provide enough diferent shaped Sections to cover quite a large area. The timber house under constuction, with the walls ch but the eaaboard 0 ill awalting its thatching.The roof ofthe tmber house represents reed thatehing: the two fine twigs ai slong it epresent the securing poles that were lashed trough te thatch to the roo ame, The fone gable end has timber taming coated with whitewash (ite acrylic), and the plank doo ttes in lace. Note the thatched end caps on the ref ridge was stained inside and around the outer edges using charcoal smudged con wath finger: The next house was a fally timbered one, and this was built the same way as che keep. with basswood straps for che planking stuck ard former, The roof wos made up with ewo panels and the same representing 1 method as before was used for the idgepole and smoke hole. When nis, this 00 was painted co look like whitewash, and a greyish shade was used for a weathered roof. On both these houses [ slso added a small peak of charch 1 each end of che tidgepole — shese were used eo help carry the ruin clear of the gable ends of the houses and the doorways. The small chapel came next; this simply had a few rimbers stack usectly to the cardboard, which was then whitewashed to look like plain mad or cay lime-washed cover. The roof vasa bit different in that ie was made of wooden shingles; once again, this was cast from one of my moulds, and chen coloured with Vallejo Weathered Wood acrylic wich a bit of Dark Brown mtx in, 65The simple framework ofthe stable made with squared sips of basswood, ‘The stable withthe rear wal of wattle: and:daul addea WY LEFT The stable with its ed rf wating tobe painted and some ofthe detaing added to the fame BELOW RIGHT The stable interior pint and with iting rings and chains addedThe lowly peasant’ hu, witha leather {oor curt made fom thin lea sheet. he root i thatched with straw the timbers are deiveratety 9 bit integulo: and note the damp staining the watle-and-daub, particularly where it meets the ground The smaller hue was again made wich wattle-and-daub panels, with deliberately ‘wonky’-looking timbers. The leather curtain to cover the doorway was made from thin lead shece with creases and sags pressed into the back, and coloured with Vallejo Flat Beown cley-brushed with Light Beown and Fioally dusted with MMP Mediem Earth weathering powder For these buildings al the door hinges wese made from plasticand strip, and the door Some ofthe buildings ready to be faded tothe made. Note the simple whitewashed chapel atthe back, and the stane well coping atthe front. 67 bales wore carved and shaped from sexap basswood. Finally, the bailey needed 2 stable (this did not have to be big: the garrison of such small keeps could bee counted on your fingers, with only a vety few mounted men-at arms), buile che framework fi squated strips of wood and chen added a partial back wall of watele, which I painted in natural shades of brown, omitting ary whitewash,‘A MOTTE-AND-BAI The roof was made from two picces of reed-thatched castings che langes, rear pare was vietually 3 whole panel of this, with a shorter Front section, set at an angle to shed eh i just ainwater, To get cut a section from a whole pane and then stuck che two together, witha strip of wood bracing on the underside to strengthen the joint ‘The wet installed onthe ‘poached! ‘ground of the bailey, with its cover in place. This ia simple csc of basswood, scored with planks and orn as 00 the keep doors, the ron bands are plastica Strip with punched studs, pated Matt Black and then washed with Ruta The whole thing was then st the wooden frame, [added a b decal with a length of chain on a hitching ring ae another inside; both the chai, and che sings were dipped in Blacken-I the chemical from Micro-Mark, which does just what i says on DETAILING THE BAILEY Tr seemed reasonable ro give th inhabicanes of the bailey a well, 0 save them from endless trudging back and forth co the nearest river (life is hard enough when you aie 28mm tall) I took a piece of Te fished wel, made om a sribed fing of Balsa-Foam and coloured with Woodland Scenics Stone paints note ‘he tng of algae around the edge of the water surface. The pots for the spares box.69 Using a rotary eter to chop up sa string, to make raw for the stabie and ‘he mide, The ine at of laying down 3 ddung-nesp; Behind this fet lyer of straw isthe walkway around the inde “of the palsade, awaiting its lst ayer | MMP Medium Farth powder The closeup below shows the wet "manure added tothe midcen3 A MOTTE-AND-BAILEY CASTIF ‘Balsa-Foam’, and using aswel pureh I genly worked it cheowgh the material until Thad eut fre a plg. (Dorfe use the tool as an setual punch with this material: Balsa-Foam is fry friable, and if you try knocking punch through i,t will jose shactec) Then T took a smaller punch and repeated the process on the plug of material tani I was lef with a ing of Balsa-Foam, I used an old ballpoint to seribe che outlines of he stones, and then coloured ic with ‘Woodland Scenics Stone paint, darkening some of the stones give a bie of contrast to the finish, When Ii stuck the well to the groundwork [ made a dise of plasticard and stuck ic inside, near the top, painting it Gloss Black ‘Then I poured in a small measure of Johnsoris ‘Kleat floor vaenish (1 thik this produce is called Fuere™ inthe USA). this ideal for creating small bodes of water if you done want go use resin, When this set took some Lime Green acrylic and added lee bits of algae around the edge ofthe water saeface. The well cover i 3 dite of basswood, scored andl stained and sith plsticard iron bands and studs added 1 was now teady to stare placing all che buildings inthe bailey: Since Thad already marked out the plots where each busing should Rie King of al he surveys: a rooster gerchee ‘0m the finshed midden, with hs wives pecking sound the yard, and a dovean the roof of the stable (note the cleaner straw inside) didnt take long to positon them ‘Once in place I faved them inco the ground with Clayerete, and added some weeds along the bast ‘of the walls, (Always do this when adding vctually sey type oF structure to a diorama; it spoils the realism if you leave the buildings just secing on the ground like so many boxes — lock around, and you'll se chat any walls other than ‘hose rising steaghe from city concrete have a line of geeenecy along the bottom, I also added staining to the bottoms of the walls of the wartie houses, where clamp had been absorbed by the daub ard whitewash, Afcec so long spent on major construction and repetitive labour, Thad earned the enjoyment of adding some details the scene Beside the stable I pur dung-heap for midden — always present wlnorover there ace faem animals ~ wich 1 made with sisal string 1 find sisal the bese material ro use when modelling, since ~ unlike modern syntheric string — it will accept colouring, I cut a short length of the sisal and chen sliced ic smallee and smaller using 2 rotary cuter, until I had a nice heap. I put this by che seable and poured chinned white glue ovee the whole ply after this had see Ipoured thinned-oue Vallejo Light Brown over i, and added pacches ‘of Datk Brown for variation; last, of all I placed a cockerel on the cop, surveying his kingdom. More chopped-up string provided the rather cleaner straw inside the stable; a couple of chickens were set pecking around on the ground, and I puta dove on the roof and 2 couple more on the roof of the timbee-feamed house. GATEWAY, BRIDGE AND pircH Te was now time eo turn my attention to the entrance of the bailey. T made a gateway roof from scrap wood, and thatched this with a picce thom a ridgepole casting The gates were made the same way asthe doors, wih plasticard hinges and scuds, painted Mace Black with small spots of rust added. On the backs of the gates I made a couple of brackets for the gate bar, and when Ii fixed the gates open added this, sloeed ineo one of the backers. stained the woodwork with Weather-Rite; then I made ‘wo pairs of wooden steps to be placed against the inner side of the sentry wal, Earlier on in the build I had rmade up the beginnings of a sturdy timber bridge to cross the ditch t0 the gateway. I now finished ehis off with handeails, and dictied che planking with MMP Medium Earth powder diluted wich water to represent dried mud, When it was Finished I spread a litle Clayeeete on either face of che ditch and pressed the bridge into place, The ditch itself was detailed with serub grass, weeds, stones, and brighe gresn dried algae, where scummy water had previously died: ehis gave a previously rachee uninceresting crease inthe ground 2 nice, busy, organic look. (A 1/65th scale frog o€ two was rather beyond me, Those obsessives whe want ‘The baley gateway in place, withthe wooden steps leading up tothe palsade wabkway. Note the locking bar leaning inane of the brackets on the back of ‘the nearest gate; the thatching over the lintel, to Keep rain of and the pointed lags ofthe palsae, shaped to resemble rough ave-work namore details might care to somone thatthe dich Manking a bridge was usually che place where rubbish got thrown away ~ to che later delight of archaeologists.) With both the motte asd bailey complete, it was time to add che inhabitants {do like a diorama eo tell a tale, even if it's noe a particulsely essiting one, ase! fr the purposes of photography 1 wanted to add some figures even if they were just placed on che ‘ground on their bases rather than being faited into the surface. The Perry twins of Peery Miniatures swore most generous in supplying he base bridge being offered into place to check for size; and in place, vith hands and aft aplication of weathering, Note the expanded met mesh used a 2 foundation fr the bank ‘around the edge ofthe bale, where ‘the palaces wil be planted sme with 3 number of chic ‘Norman period wargume-scale figures to populate the bailey. (I'm fo geeat shakes at figure painting, particularly a this scale, so please clon take these as a good exam of the Perey’ work ~ the fies are excellently made and much better proportioned than most wargames figures, and when properly painted they look great) T po the lady up on the stair placform with her bodyguard, looking down after her knighs, who is about co leave, Down at che gateway he is leaning fom his saddle to speak with his sergeant In front of she chapel a priest, with his acolyte. is giving a blessing to 2 man leaving on othee pilgrimage. Near the stabl rider is leading bis horse ny unde coves. A couple of soldiers par che walls, and one of thei wives appears to have her hands fall with a bawling child T must admit chat this isthe fies time Te built a diorama in this scale | found it challenging, but lot of fun, and E look forward co some facure project which will give me profic from some of che lessons hance to learned this time.view af the diten with end vegetation, reeds and dried-up algae in the bottom, Looking across te brig and through ‘the open gateway into te bay. With ‘are is possible to create fay ‘omuncing groundwork effects even atthe small scale,THIS PAGE AND OFPOSITE TOP ‘A numberof general high-angle views ofthe bale, with al the bung in place but before acing the Ngures. Spare planks and timbers are pled and leant here and therein odd cores Note the wooden shingle rot ofthe chapel = the only one without a smoke hole. Most simple Howes ofthe ‘en 2th century had a feepace in the centre ofthe flor, the smoke75 BELOW A pleasant view early ‘moming sunigt,toaking dawn from the motte nto the back ofthe bale. ‘This shows the convincingly senty and tedden effect of gas seater over cath, with occasional clumps of weeds‘The gateway and bridge withthe Figures i place: the bright confers with his sergeant before ring out, and two solders tan sentry. Fora dsplay ‘ode, obviously, the igure bases should be cut down and aired into the groundwork,7 FALL IN THE FOREST I had recently been looking at a book illustrated by Richard Hook, with the most wonder pictures of [North American Indians, and this spurred me on co build a diorama Thad had in mind for some time. 1 wanted to create a glade in deep forest; and while this could provide a seting from virtually any time and place, I decided co ‘locate it in the forests of the American North-East ac the time of the French-Indian War ‘of che 1750s, by adding asa Final touch the figures of a couple of Mohawks scouting for the British Army. J7he diorama started in the A. sual way, with a baseboard smade from a block of polysryrene sith another, shorter block suc con cop of it a the eae. I had decided to make my scene deeper than ie was wide, adding a sloping rock face atthe back to give it variation of level and also co provide a cutoff point for the viewer’ eye BASEBOARD AND ROCK Face 1 fies cast the rock face ws. ‘wo different Woodland Scenics oul, and then joined eens together side by side to give the width that I needed, I stuck this to the face of the higher polystyrene block using white ple then I lid a layer of plaster bandage across the cop of the ridge, blending it down just on to the edge of the rock. When this dred ic was given a coae of Claycrete med with pre-coloured water ‘Who the plaster bandage and its covering wece dry, I lad a layer of grass matting over the cop of the poking up through the gras. painted the rock face with a Ige, and added a few rocksFALL IN THE FOREST ‘The rel thing: 4 types deciduous woodland scene - though abviously ths 's open, managed forest with wats and ides eft ee; nacural woodland would be much more crowded, and fll f ods: Note the preces of faien {dead branches mixes in amongst the ‘extensive carpet of leaf Ite. you are modeling # forest see, youte not confined to making large tees alone ~ nate the lighter grt nthe background of thi pletne (Prato Stephen Window) ‘The two piaces of polystyrene that make up the baseboard, stuck together with the ot-glue gun‘The rack face a Ue reat ofthe lors sin place, and the plaster bandage is laid over the layer of Clayerete that forms the ridge I've jst start laying 8 layer of Clayerete on top of the bbandsge, shade of Lighe Stone colour feom the Woodland Scenics Earth Colour paint set. and applied some very light washes of contrasting colours here and there, t0 represent mineral staining running down the rocks. I then added some mote racks poking up through the ‘soil ia various ocher places, and gave these a coat of green acrylic; this would act as an undercoat for the moss chac I would ‘grow’ on hem at a Iacer stage, 79 Using an old grapetut kite to cave uta shallow dis of polystyrene that wl need later on, GrouNocover AND WINDFALL TREE Te was now time to stat laying some groundcover over the whole of the Clayerete surface. Fits! sprayed the whole thing with a very finely atomized coat of Woodland Scenics Scenic Cement, using the refillable Ay’ spray boeele fom Fibeeceafts (described in Chapter 1), For the first layer Tused a fine carth-coloured seater, which Tlefe fora while co dey off. Then 1 applied mote sprayed adhesive, and laid om a layer of mixed herbs and feagmeats of dead leaves thae Thad ground up with a pestle and mortar: these gave me an interesting layer of differing colours and textures (and also smelled rather good). As I intended co scatter a final hyer of fallen autumn leaves ever the whole dliorama, this was the stage at which eo add all ebe general deeritus of the forest Aloe had found some oicely weathered pivees of driftwood con the beach nea my home; these were broken into shore lengths, and given a mossy coat with sofe Olive Green pastel chalk, Next I made some fille branches, using twisted copper wie forthe general shape and covering chem with plaster, which I then stained with 3 wash of thianed Bucne Umber oil pine. (et contoued ope 86)3 FALL IN THE FOREST ‘The gass mating (rom Slr) nid ‘over the plaster bandage on top oF the rochy ridge; ve acted few rocks embrdded in the grass. The rock faces coloured with thin acy from Woodlana Scenics, including sal tinges of brighter contrasting colour for streaks of rineral seepage, and a few weeds have been addes here and there araund the edges, ‘The Claycrte base coat is covered with aie ice scatter, and individual rocks glued t the ‘groundwork have been given a coat ‘of green acy, as undercoat forthe ross that wil be added ate‘Tae root ball forthe windtal res offered up here, and the next layer of groundcover has been applied. Ts consists ofa miatore of died herbs from the supermarket and aed leaves, ‘round up with a pestle and morta. Close-up of one ofthe peces ot twood that | used for fallen timbers | adds a mossy coating with ground Lup pastel chal, and used Valley Hull Red acrylic to add colour to the msde ofthe dead bough ‘he re thing fallen tebe hang over moss-covered rocks a water-scoured ‘guiley on a forested hillside. In really fpameval woodland the earth would be ‘vtwalinvsibie under a deep, chaotic layer of santas im every stage of decomposhon, covered with parastic plants and with secondary growth ‘pushing up besween them, Historical, "movement on font through pathless orest was incre slow, where it was ‘even posible. (Phots Gerry Embleton) aestar Copper wire armatures to form the fallen branches an the forest floor, and the armatures ater receiving a covering of plaster and washes of Burnt Umber paint thinned down with white spin. ‘The fallen branches in pace on the finished model, under tee atthe foot ‘ofthe rear rock ace83 ‘The rel thing: the root ball ofa wine twee, Note the heavy forest iter of dead leaves small branches and twigs. Phat ‘septen Window) The polystyrene dic, which I had eae ct ou pf the baseboard with a repel oe, i fixed tothe base of ‘he win with plaster, foming the toss of te root bal: and the top surface ofthe root ballatter receiving 2 layer of Clayerte, dressed with _groungcover and some bracken,= FALL IN THE FOREST The underside of the oot bal, uit up wth Ci ny stones and roots embedded belore tee the ‘roots are made with Supertat ‘Wood: Ste” fem Sylmata, coloured with Vallejo Dark Sand. The final step shows the rt ball coated all ver with MMP Mecium Earth powder,The teal thing: one fallen tee that has lot alts bark, invaded by moss and another stl ith a seabby partial layer of back. Photos Gerry Embleton) asT now returned to the shallow dlisc of polystyrene cha I had cut ‘out from the baseboard eatlier, and began turning it into a root ball for a windfall tree. When a shallow- rooted tre lke a conifer is blown out of the ground it teas up a sore of ‘lens’ shape of eaeth, fll of roots and small stones, which remains in place attached to the foot of the trunk. The tree was ‘made in the usual way, with a wire armature covered in plaster ~ see the end of this chapter for farther notes on making trees. I then secured the poly disc to the trunk with more plaster. The upper surface was given a thin coat of Clayerete and then dressed up with some groundcover and bracken, I added a thicker ball of Clayerete to the underside, into which T pressed some tiny stones and grit, and added some tailing eo0ts “The ehinnest ones were made from coppet wire, bu che thicker tones with added rootlets were made from a product called ‘Superfast Wood-Stick’ from the Sylmasta company. This is a two-part epoxy ptey which comes in a rol, with one clement of the putty running down the centre of the other like the marrow in a bone Just cut off the amount needed and work the two together until you havea pale tan-coloured putty; form it co shape, and pur it aside o set ~ which takes a good deal less time than some two-part parties. I coloured the roots with Vallejo Dark Sand and then applied sineacs of watered-down MMP Medi Exeth powder; [ also ran this over the whole root ball once al the detailing was in place. TREES AND BRACKEN Having completed the recently fallen tree, Tent on to make a much older dead cee still standing cen is larg, exposed roots. Again, I buile the cree from copper ize encased in plaster. [lef the appet part quite smooth, to give the look ‘of wood with the back stripped off: Lused more plaster, dubbed on oughly with a spatula on the lower part, to represent rough bark. T coloured the upper portion with ‘varying shades of Burnt Umber, Barne Sienna and Black oil panes heavily thinned with white spirit. uns I judged che coloues sbout right For the lower part I used Pale Grey and Green, once again ‘thinned! und trickled over che plestee~ which, being absorbent, soaked up the colour nicely. To get a realistically heavy coating of moss on the roots I painted them firse with a brig green acrylic and then, while the paine was sill wet, [scatered some Woodland ‘Scenics ‘Snow over them. This is composed of tiny micro-balls of polystyrene, which I tinted with ink; you can get these inks, in a variety of colours, from any good are shop. ‘The next step in covering the forest floor was the addition of green aris beacken, for which I used Seale Link’s photo-etched brass product. Like all his company’s erched vegetation, che bracken attves in a fet, and so to make life easy T sprayed the fee with Automotive Grey undercoat on both sides Next I gave it an overall coat of, Vallejo Dark Sand and, when this died, I picked out dffeeent stems and Fronds with lagi Sand and a few with Hall Red, co give the varying shades of dying aucumn bracken, When everything had died I cut the stems from the fet and stuck them into the groundwork in various places across the baseboard Newt I made up evo more sections of rock face rom ‘Woodland Scenies moulds and stuck them to the front face of the diorama, Once agai, { coloured them with Woodland Seenics Light Scone foom theie Earch Colour cet. Te was now ime co add the three Lange tees: agua, forthe construction method see the notes ac the end of this chapter When they were ready I attached them by seeting them in Clayerete, which held chem fiemly in placed when ic dried I deliberately spread a slightly larger amount of Clayceete 50 that I could feather the roots of the toes into the ground now returned to the depression inthe base from which I had carlice cut the disc of poly for the root ball of che windfall, I added some geit, some more Superfast‘The standing dead tee, made with copper wite ana pistr coloured ‘sith Burnt Umber, Burt Sienna anc Black ol paints on those upperparts wihere the bark had peeled of, and with ‘green and grey ol pants over the lower, bark-covered portion ~ se the close-up | thin al these colours with white spirit so that they soaked easly into the plaster coating, 8)ateemailinneitiatnaittiainataiel A fret of etched-brase bracken from Scale Link. Its much ease to paint these fronds whe they are stilattached to the fet: # you mark any of them ne cutting them of, 1's the work of ‘moment to touch them up afer they are glued in place on the mode (clumps of bracken in place, rowing against the rock face and under the trees at the back of the diorama,The real dung: a stand of bracken in an autumn wood. (Photo Stephen windrow) Fathering the base ofthe large trees Into the groundwork with Claycrete, {LOW The wind tee in place, leaning agsns te neighbour, wth the root ball torn out of the earth. Leaving the depression below relatively fee of the dead lenves and other litter covering the rest of te forest loa creates an Iimpresion ofa recs 89‘Wood-Stick roots and earth scatter to the hole: and then glued the windfall eee in place, leaning against its ncighbout. At this poine Talo attached a rotten treetunk to the racky outcrop atthe front of the diorama. THE ULTIMATE ROTTEN TREETRUNK 1 wanted to have a ful substantial rotten tree in my scene (largely for the fin of deeailing it). ies, I liberated three of my wife's hair curlers ~ the plastic hedgehog’ type — taking ree different sizes 20 that I could telescope one inside the other, and clipped off all the litle spikes. Next, cut a section lout of the side of the lagest one, and a hole a bie further round. [ slorted a piece of the smallest roller into this hole, which would become the stump of 2 bough sticking out to the side. From the smidlle-sized roller I cut out a section running the full length, and from the smallest a section running about a third of the way up é. then slotted the three rollers one ‘The Woodland Scenics Snow cover, ‘inte with green ink, makes excelent ‘mass texture for tee roots and racks inside the next, with all he removed sections lined up. I now had an armature on which to build che reeeccunk, I coated che whole thing, with Eberhard er ceramic casting plaster and, inside and 0 while cis was still wet, [made a small branch ftom copper wire and plaster and stuck this into che plaster on the side of the stump ofhe aematare for my roting Wee trunks three diferentiamete hair roles, ‘de-spiked’ and telescoped one Into the other, wth a fourth stuck into ‘hole on one de to form the sump of a heay bough When the amature was covered with plaster, | added some smaller branches ‘made trom copoer wire Starting to add colour: the inside ofthe trunk was given a coating of Valeo Butt ‘ad then a thinned wash of Fal Sand 3FALL IN THE FOREST The ouside of te trunk wos coloured with mixed washes of Vallejo S$ Camo Black, Crey-Green and Buf, added in no pariculr order or density 1 us played With the colours until they looked ight, bringing out the layering and texting ofthe plaster bark Leaves and other forest iter have been ade inside the trunk and secured with spray of Scenic Cement, {BELOW The real thing: sulphur coloured lichen growing on a rock — asi also does on dead timber, (Photo Gerry Embieton)(One or to smal clumps of lichen have ‘been added tothe bak. Aso note the cleat dividing kine between the colours at the edge ofthe spt, where the sof, rotten heartwood meets the tougher remains of the bak The real thing: teadstols growing on 2 mossy tee trunk. (Photo Stephen Windrow)z FALLIN THE FOREST “The toadstool growing inthe damp Ppunkwoed inside the rotten turk. | fied these with superaue, as they ‘would’ stay upright when using the Sowercryog white gue the broken bough. When everything was dry I painted the Insc of the eree with Vallejo Buff and then a wash of leagi Sand. [ then added more plaster eo the ‘outside, laying it on with 3 spatula My toadstoos were made from Supertast Wood Stik, and the tops were coloured wih avery tin wash ‘of Burt Umber ol pant. {aidly roughly co give me a nice rugged coat of old bark. This was then given several washes of acrylics, in no particular order, including $$ Camo Black, Grey- Green, Bufl and any other colouc 1 though would look right. (I know this isnt the way vehicle modellers approach a paint job, but I'm afraid that Mother Nature docsrit work to NATO Standards! All can say is chat you'll know when i eight.) The nexc step was to add general leaf liter and organic crud inside the trunk, which [ secured with 3 light spray of Scenie Cemene. After shis liter came che pie de riastance seale model toadstools! (Once again I used Superfast Wood- Scick for these, moulding the heads ‘onthe end of a needle, and just rolling a length of the material out to cut up for the stems, This putty dries to a pale tan colour, so all L needed to do was co wash the tops of the heads with thinned-out Burne Umber el print, and they were ready 10 be glued in place with Keele spors of supelve The final touch for che otten seeceunk was 0 add a couple of stems of iy growing around the end. The ivy was another Scale Link etched brass fret ike the bracken I painted i ll in place before cutting off che length I needed. The stems were painted in95 Seale Link hy | bull up the stems slighty with white glue, and painted them while still on the ret. “ws the stems around bit when you've cut them fom the fet, and twist some ofthe leaves again once they are In place on the mode! so they dot all ein the same dtecton, BELOW The rock face atthe fant of the giorame,z ‘The end of my rotten tretrun in place ‘nthe frontal rack ace, with iy growing around the end, ‘The real thing: ayered rock stata breaking through che each in woodland, with clumps of vivid green ‘moss. (Pato Stephen Window)97 ‘The Woodland Scenes Snow added to he focks and tinted green Fora mossy Forest ter under the trees =the final scattered top coating of eaves is made sth the sed rom silver beh ee catins. Both these shots were taken out of doors natura sunigh, te liference trom photos taken with artical ighting i vay oeceableLooking down atthe forest oor through the bare branches. aki acrylic and che leaves ll in Dark Green. Once you have cut che scems free fom the Foe itis best co gently bend and rst them, and some of the leaves so chat they lonit allie neatly parallel Bere sticking them to the trunk with supergle, T touched in a few of the leaves with some Lime Grece acrylic to represent the newer growth, and used satin varnish co give the loaves a slight sheen. The ‘reeteunk was now ready to fx sn place, am all its festering glory, on the rocky outcrop a¢ the front of the dorsi Before spreading che final cating of fallen leaves to the forest lo I added some of the Woodland Scenics Snow, suitably rinced with green aise’ ink, £0 give a mossy coating co all the exposed rocks in the scene, The last layer of forest litter was then spread over the whole diorama: this was made from silver bisch seeds, which can be collected it uutumn. Take the catkins From the see and simply roll rhem between your palin; the ciny leaf-shaped seeds separate out, leaving the skeleton of the catkin co be dliscatded. After scatcecing these fallen leaves and forest litter by hand, I gave the whole diorama a fic touch of Seenie Cement Ficures Wich al che natural elements in place, I now had to add my Indians My knowled of this period is prety scane, but I had a word with Richaed Hook ~ probably the leading expert in this country on ue American costume ~ and be kindly gave me a wealth of oformation about the sype of clothing that could have been sworn by Mohawks who sided swith he British in che Preneh Tian War. The whice-metal figures are beautifully m: Andres, and were obtained from, Hiscorex Agents in Dover; I painced them with Vallejo aceyics. [chen placed them in the scene, bs deliberately about halfway bac so thar they did not jump out visually and dominase the diorama = 1 wanted theie placing to complement the stealthy character99 1s ony at this ral stage that the ‘orama i ietife in time and place by the Andres Miniatures figures a wo ‘Mohawk indians scouting ahead ofthe Betih Army ~ perhaps for Brigacer Forbes, sound For Duguesne ia autumn 17587 Praying with ighting eects: | places the Mohawks ta be les han obvious, to ‘emphasize the ‘tary’ of the dorams In strong sunlight the figues almost merge nto ther woodand backgroundFURTHER NOTES ON TREES Originally had tacended co seer readers to the booklet produced by Barey Bowen for a detailed explanation of how to make rees using his method of wite armatures and plaster costing, as used for he tcees ia this and my previous book Unfortunately, Barry ells me chat hese booklets arena longer ssailable and he doesn foresee theie being eepeinted, In view of this [ decided to repeat here he b aformation that [included ink ings it would be a touch arrogant to assime that everyone has eead it. Ihave also added a few pictures which may be of help in sparking ideas for new If you want to make a twee, ics clearly a god some reference. [he two books T 10 ABOVE The ral thing: @ heavy woeded lf of horizontal rock stata. When you plan your woodland dorama, look at nature, 6 good nature photographs: make Sure your groundwork matches the typeof trees, and thatthe diferent ‘ypes of trees belong together naturally (Phot Stephen Windrow) re real thing: a sope makes an attractive and controllable backdrop against which you can place the main subject of your mode! - whether figures ora vehicle ~in the foreground. These dark coniters make 2 good cut-off point forthe eye, and tee is plenty of liter aon the slope to make it intresting, You could even adda smal stream running down it, 0 ditch or rock wall athe bottom (Phota Gerry Embieton)micwnter dusk, Th ‘wes ample scope fara dorama bases around a winter march or cou make a complet pig! ofthe paint job, don't despa: st add anather thin skim of plaster, an againoriginally commended are both, sadly, out of print, but its tainly possible r pick up secondhand copies ether from the sweb 0 ftom 2 second-hand book calor ~ eae’ how T gor both mine. he fst is called Tle Compl oie Toes Britain & NBs by Alan Michell, published in 1988 ISBN 1 85028 000 2): he second is The Osfond Book of Tres by BE. Nichohon & AR. Clapham, published in 1975 by Oxford University Press. This second book not only gives you reference on the trees themselves, but also vaable information on che type of ‘egeution and woodland habit in which they would be foun all n colour. (The subjects ae Bricsh, bur for moselling pueposes these apply equally to the fubitas of northern Eueope and Nosth America) One point thac has to be addressed before you stant making {your tree isthe question of scale. Assuming chs isto be a 1/35ehscale model, you will have co give yours s bie of artinie re ‘The real thing your trees don't tas have tobe green. As long as you take nature as your guide, looks better {yu mix your colours (Photo Stephen windrow) licenses while you can demand absolute accuracy i the memurements of your Sheeran or Tige, you will be unable to do this with your tees. To give you an example: if you wese making a beech tee, which could grow to 60 fece(about 20m) in el lif, you would need a model tre abour 2 Feet ell (600m). IF you went completely mad and eced £9 smodel a 1/3Sth-sale Califomnian redwood, ie would be about 9 feet sal (neatly 3m) in sale In practice, you wll have ro make up your own mind what to do about this: iher blow the kops off your tcc wich shell; blow them over ina hurticane: limit the top edge oF your diorama artificially in some way, such a witha box case ot atck to small Fie eves Before cackling your tee consider where i will be growing I you are ceating a conifer ‘woodland scene, then the ground under the tees should be a spongy mass oF geeyish-byown dead needles and, apart from conifer seedlings themselves and the ode bramble, vieually noshing elee will grow there the soil is eo acide and the mat of needles effectively smothers everything. By contrast, 3 deciduous (hardwood) forest has 3 ioe of groweh in che rich mulch ofcdead leaves that has collected over the years, so you can put in bushes, brambles, weeds, bracken and. wildflowers eo your heart's concent In both cases, do remember that « fair aumber of fallen branches of various degrees of freshness, dead cowige and perhaps rotten stumps should be scatceced about (che latter adding che opportunity for scale model fang if ike me, you ave kinky that way). Outcrops of rock ate also plausible in some forest habitas, bat do seudy proper reference pictues fist. You wane your cliorama landscape to look convincingly integrated ~ 0 like che soundstage for a cheap TV cdrama, with laughably unconvincing chunks of plaster sitting around with a9 good reason to be there ARMATURES The armature of your tee is made fom any type of wite that can casily be bene and pwsted to shape wich your fingers. Whatever the bight of erce you want (lets say an B-fotr), you need about nine lengths of wise twovand chal times the Finished cree height — 0 fn that case, ine wises about 204a long. Double che wites in half s0 that you now have 18 ends Hold the wies atthe bend, and make 2 loop big enough to fe thece Fogers through: this will be used ce make the base. Now ewis he 18 stands together spizally, ro seact the trunk, Go back co the base, cake the large loop you made, and evis i into theee smaller loops. Give each loop a twist or {wo $0 that you finish up with a A completed tee, with foliage in pce length of twisted wite ending in a smaller loop: this will form che base roots of the tre, giving a “foot to anchor into your groundwork. Requening co the crunk and moving upwards: ake four of the 18 strands, and ewist chem, together for a length of say cin ~ this wll be the stat of your first bough. Now divide the four strands into ewo pairs of ‘wo strands; cist these together, leaving ono single sands at che cad of each. You now have a bough chat Forks ino cwo branches which, in euen, each fork into two single wigs Now ewist all 14 of the remaining wites to make some more of the crunk; chen peat the above exercise t0 create the next bough (obviously, make your branches grow out from different sides of the teunk), Repeat the above steps until you have only six strands left atthe rop of your twunk, Separate hese, and owise three of thern together; then two of these, leaving these unrwisted at the end, as you've done with all the ocher branches: you now have a bough with ewo single branches, each of diffeene thickness. Finally ake che last three stands, and repeat as above know this sounds complicated, bur hopefully Barey Bowen's cliagrams eeproduced here willhelp you make sense of it; wich a bit of practice you'll find it isne carly as hard as it sounds You shoul ww have 18 single ends on your tee which, if cessaty, you can clip back so they don't all look exactly the same length, before bending a shaping the frame to the skelecal outline cou want. IF you wish to have ace with a forked trunk, ie’ ‘easier to make two separate ones and then bind chem cogether Plaster “The next sep is to cover the armature with plaster; you can any other vse Polycell, Tetrion, powdertype filler I dont recommend using the Bbethard Fab ceramic casting plaster that I have recommended for other applications chis dis cao rigid. nd you need to retain a bit of flexibility ge whice ‘once the coating i in place, this flexibiiy you can ad lve to the mix, uc remember chat this will tend the drying time, IF Bowens ciagram ofthe steps in making up the wire armature fora deciduous tue, as described inthe tex pattern can be modified inary way you ‘want, varying the height, te tikes, tn the number of boughs your tre isto have fairly smooth hack then this mix is ideal, bu if you want a really heavily eoxtaced finish then leave out che white glu, and add fur tet ieregularanas of plaster on top of the layer: Another vsefl FFlexi-Bacs already mentioned, raring material is che Mix up your plates, aiming far a consistency chat will flow reasonably fevely; then, holding che tree upside down over a dish o 0 the papes, apply the plas trunk and che underside of the boughs with an old brush, working Now stand the tee on an old plate, which you can use like a curntable, and coat the 1 sucfaces of she boughs and any parts of the trunk that got missed the first cime around. When coating either the underside or pside of the branches, leave the single end wites (wige) when you stare adding foliage the bare ends of the wiees will cake the glue betcer than plastered surfaces Once the whole tre is conted, and jus before the plaster has dried 4 senber ot knife blade ant score the of both he teunk and the larger boughs, bark texture ino the suri adding any knots and hollows as required then set the whole thing2 FALL IN THE FOREST aside eo dey. IF you Raven sed Flex-Bark to ada roughened ‘exer, then — agin before che poser has see eake an old cooshbrush and siple the surface of the ee to roughen i up be PAINTING AND FOLIAGE ‘When your plaster is se e's rime «co apply colouring. I use several succeasive washes of heavily ehinned oil panes: Burnt Sienna, Buen Umber, Raw Umber and, for shading, Blick. Hold che we upside clown over your plate agai, take 2 large brush ané apply the wash over the trunk and boughs. The plaster ints like bloccng paper: the painting cakes lice time, and it dries quite quickly [Now stand the tee uprighe and ouch up any paets you may have tends to soak up che mised. You cam emphasize the textured bark by making up 2 darker wash with some Black, and use a smaller brush co run he darkened mix down the scoring macks you peewously made, Obviously the foliage you now add will depend wpon the egpe of txce yout making, One ofthe ost usefal materials ts ‘The basic constuction method can be varied to match any sale. These are an armature and a finshed pine ee in “72nd, made by exaety the same method as far 1/38th mode's Rubberized Horsehair’, which you can get from the 4D Model Shop. “This makes an excellene basis for tree foliage, which you ean then overlay with scatter (itd also good for hedges, bushes and so on). ‘While the measurements suggested above are for a 1/3Sth- scale model. you ean naturally use exactly the same method for 1/72nd and other scales.TECHNIQUES This chapter deals with a couple of types of terrain effect illustrated by modestly sized vignettes rather than full dioramas: and ie also seems the logical place for a few introductory notes on the cechnique of “false perspective’ as applied to terrain effets in boxed dioramas MuD AND WATER ‘create a licele snapshot of this Thad been ceading a book that chaps service ~ a day spent recounted the experiences of guarding 2 complecely unimportant people in various walls of Ife who tidal ine somewhere on the East had lived through the Second Coast, long after any theeat of World War in Britain. One of invasion had faded. This kind of them was a man whose age and landscape seemed perfect fe fitness had prevented him seeing creating an impression of sheer active service, and had been 2 monotony, Buti also has rember of the Home Guatd in interesting technical challenges ast Anglia. Iwas struck by the As usual, [started off by making sheer boredom of his life, atacime the baseboard froma piece of wien the world was in euemoil polystyrene, on which I made a rough ‘When thinking of models for this sketch of the shapes hat would book I thought T would ey > become the edges of the flanking rmeadowland, the banks and the channel down the cent: [then cut fot a shape for ane ofthe banks from a polysyrene ceiling tile, which J exaced roughly on to a piece of lining paper Using dis as eemplace, cut out chive more pieces and seuck ‘chem on top of one another, co make the basi shape of one bank T dit worsy t90 much about making each piece exaclythe same as the fst, since the whole thing was going to be covered wit plaster Later. With one bank in place I repeated the exercise and made up the second o0e 1The base layout af the banks ofthe ine, with penciled guides forthe postlans ofthe cenval watercourse, the “drainage channels across the mud, and the Boat skeleton Paster bandage lad over the rol of dampened sewspaper; and the green scatter undercoat that | applied to the meadow areas before adding the grass nating The plaster coating is applied to the inlet: more wil be added to smooth ‘ver the plaster handage Banks‘The boat skeleton was made up Lom scrap basswood t was fist stained with ‘weatherRite, and | hen ade various applications of dsterent shades of green pastels over the whole thing ‘Whe remains ofthe boat hal-buried in the mud Ar this stage the overl satin ‘varrish coating nas not been applied 10)TECHNIQUES CCarvng the channels inthe mud where the water has drained down, These follow the line of least cesstance ‘through the sloping mud, and naturally adopt sor of sinwous tee-pattem. Before pouring onthe Relic Water stuck ‘am’ of Plasticine at each end ‘ofthe madel to prevent any les. In ths close-up jst posable to see the coloured sw in te tinted resin layers, where ‘muds beng gently tugged downstreamFence posts made rom headless -matchstls, sypporing Scale Link barbed wie ‘The next step was to create a gradual slope from the level of the ficlds down across the mud ca che bbotcom of the watercourse. since there would noe have been soy sharp transitions on this sort of ground feature. I eook some pieces ‘of rewspapee, dampened them, rolled them into rough sausage shapes, and lad them along the sides of the inlet, wacked up under he ecgss of the bank. While ehey ‘were sul damp f took lengths of plaster bandage and laid chem over the newspaper, blending the whole thing inco a gentle slope. This was repeated for the other bank. The Losing through the fence at Oe ‘ppaste bank lase ayer of plaster bandage was used t0 round off the last step down into the bottom af the water channel, As all che plaster was dying, 1 first ofall covered the area of the readows exther side of the ewer wich green seater o act a8 a undercoat for the next aye, for which I used Silflor grass matting This ia Fuely open-weave matting, and the qeeen Satter would prevent any of the whue polysryene ele fom showing through. On oneTecuniques ABOVE The mooring post with ts sty chain side {osed some fey long grass, in which our bored sentry would bbe seanding: on the other T sed the same grass and then added clumps of coarsee groweh, c@ ge the appearance ofa pasture that had not been grazed for some time 1 decided chat ewo stretches of wet mud would need a ile something added to break up the monotony, 50 1 used some scrap basswood and Fashioned pare of the skeleton ofan old boat, to be half submerged in dhe mud. also rnade an old mooring post, complete with rusty chain 9 be ace atthe river's ede The mud was made with Polyfilla powder, since I wanted x failyslow-deying plases, giving me plenty of time for shaping. I mised ic with wate already coloured wich Geoy apie pains, and laid ie along the ilee with an old Jin paintbrush before smoothing out with an artist's pete knife. While ic was sil damp {used the handle cof a painebrush co create the sinuous geooes running down the mad to the centeal channel formed by the water desining off asthe cide receded Before stating eo add she water to the channel I dammed’ both ends of the model with Plasticine BELOW Closeups ofthe Homet figure ‘odie for me - with his usual patient {00d humour - by Gavin Masup. This lonely Home Guerd sentry does look any happier ram the beckto stop any overflow = it peels off easly once the resin has 866, the water T used Woodland Realistic Wares, with the adltion of a mix of Khaki and Olive Green acrylics to give a nice muddy look. 1 poured icon in progressive layers sloout Jai to Yin dick allowing cach to set before adding another Layee if needed, Refine che top layer ad set dragged a coathpick through the ace, disturbing che colouting to cteite the appeatance of swirls of sile being pulled from the muctflats and flowing dows towards the se ‘When che water had set, I went back over the muddy areas and gave them a couple of heavily thinned Beown acryli washes, to tone down the slighely unceatistic grey colour. Once this had dried I added two coats of satin varnish. I deliberately did noc use a Bored, hungry, dying fora cuppa — and if he’s any judge, any minute nw it’s ‘going to p™* down high-gloss varnish, since ehis would be an unrealistic finish for ud that has been exposed eo the air for some hours and has had time to dey off abit. The fence posts along the bank were made from headless matchsticks (you can ick wp bags uTECHNIQUES of ehese from most arts-and-ctafts ps very cheaply, and unless you seace geting ambitions ro build Se Paul's Cathedral or the Cheyer Building they'll probably las you 2 lifetime). The strands of Sesle Link barbed wice were suitably vwesthered with » mixture of an old EX cust caloucing and MMPs Ruse weathering powder, both let down with water, 1 used the same rx for the ea shanging on the scrap basswood mooring post (Our bore and bungey Home are that [got from Historex ‘Agents in Dower I decided t0 make bhim a pipe-smokes: His briar was sratch-buile by heating a length of yergtee plastic rod and forming the bowl by letting the molten plastic droop slightly from tse horizontal when cool, it was shaped with a very fie fle (originally intended for cleaning up the points ina distributor cap). The white set Tommygun came from the p box. The photos were taken against a painted cloudy backdrop, for a windswept effect Ic—E AND SNOW I made this small vignette pe sarily ro underline the excellent efeces of snow and ice that ean be achieved with ‘Snow-Coat’ and ‘ee-Cost, two products that Ihave only recently come across thanks The Small Shop EU (see final chapees, ‘Si Like the rock faces in the Fall in the Forest’ diorama, I made the lowering background outcrop by moulding two separate rocks and gluing them rogether with white ple, attaching a strip of plasicard up the back asa beace. While these wore drying, [ cue the semicircular base from a piece of polyseyrene and covered te with an undercoat of plaster. Before this set, T marked dur che edge of a track at an angle seross the foreground, using an cold carewheel from the spares box When this had dried, I glued the rock and the poly cogether using whiee glue Once the rock fice had set. masked off the base and eprayed the whole thing a dack Slate Greyuw Casting ane ofthe rocks for this vignette, using one ofthe Woodland Scenic rubber moulds ane Eberhard Faber ceramic eastng powder =I ‘wantas them ta withstand fair amount of handing ear view f the wo cock castings stuck together, with atonal supper sta of pasticara acing ross the jin.116 TECHNIQUES The rock castings secured to the polystyrene base. The serves 36 an undercoat forthe snave 2d also sal the joint atthe Fat of the rock face colous. using the Attys pressucizeed spray bottle paine from the Woodland Scenics Earth Colour st, then made up a mixture of some of the Snow-Coat and water ina bow. This was a very ehin mix I wasnt looking ¢o create a thick fal of snow at this stage, but simply to: make the rock look as though a thin layer of old snow had melted and chen reffozen as ow-Cost is very versatile and can be mixed to giie a number of ects, from deep snow roachin icy glaze ‘The icicles hanging from the rock ledges were made from piects of an old cleat plastic CD ease warmed up with a gas pencil rot to the point where [ could stretch them out ingo thin filaments, When they had cooled, I give them a coat of Ice-Coat and cut them to length When th enow had set on the ledges I added fest frozen coating of moze of the Snow-Coat pow The rock ace coloured with Slate Grey ery, and glazed here and therewith 2 very thin layer of Snow Coat to give the effect of od razen som, Unfortunatly tis photo does not show the reflection of ight from the icy you that Srow-Coat gives a most authentic ‘ite rock face ~ but | promise‘Meer aading mare Sraw:Coat tothe ‘mic! Bult up a rice fat ip of snow at the top of the rack face You can ty fora bit of overhang, but nat so ‘meh that tis in danger of breaking away the st tie you move the ‘model. More snow has also been ode to the horzontal ledges ning it up 4h lad this Nberally on most of the horizontal ledges of the rock face, and very thickly on the top. Because you ean build Snow-Coat up ayer by layer, I was abe to achiewe a nice boaging ‘lip’ of snow at the top slge of the outcrop, where it had settled heavily enough thae its owo vwoight was on the point of causing icto split off and fill. When doing this you'll need a bit of practice to get the consistency of the mix just tight: coo thin and ie will just dip thick, and you over the edge: t dont gee the ‘i effec: When Snow-Coat dries you g a perfect sesle finish, with a sigh liter or frosting co the surface This is better than some other actificial snows, where the glitter is achieved by adding separate pascicles which always look me cases, almost like litle pices of broken glass, ‘With che rock face treated, [lad 2 couple of layers of snow on the base and then, with a damp brush, worked ie up co the bottoms of the “The fit layer of Srow-Coat lid over the entre base; the cart ats onthe teachin the foreground ae staines swith a thine mix of Burst Umber and Black aenic| Here icicles have been alsed, made ‘tom melted end stetched clear plastic. costed with le Cot. rock face to give the impression of wind-blown drifting Theo Lid a layer of snow berween the rock and the track; and once ths had set, slightly hollowed our che area where the fire was to be sited and che Figuee would be seanding added a small area of srey-coloured Clayerere 28a bass for the fie, and then sprinkled com some grey ash seater The glowing embers are ltdle spots of Revell Day-Glo paint, which { uundercoated with matt white to make the Day-Gio stand out better When the paine was dry, I made Lu the logs fiom small pieces of dtifwood and painted them Mate Black, I added chem to che embers, and then sprinkled them with Whiee ‘Ash ponder from the old EX company: The same firm also made a Grey Ash powdee: I scatered this, around he edges of the fre, to give the impeessionthaeehe heat had ced away inthis area also added some of The Small Shop EU lee Cont around the very edge of the fee £0 gee the look of melted snow that had refeozen, J used some more of my difewood to make a smal pile of Firewood se to one sce, and applied a layer of Snow-Coat to this More Srow-Coatis used to build up a thick di atthe base ofthe rook face The wind wil sual ple sven smooth slopes against the base of any upright obstaceu The hollows carved out tt (ith the base lier of Clay dark ash added) and the igure; the sharp edges ofthe hallow forthe igure base shove where ve carved ng tteough the Soow-Coat and plaster to the otstyrene beneath, fies adding mors snow to deepen the layer on the flat aress of the vignette, I placed the figure next to the fire sgreaadier ki (Clases Davis. Wich al che exteas in Napoleonic French Hy painted for me by place, I added 2 final layer of sno, churning it up a bie and pressing in Footprints where the saldier had moved back and forth beeween his fre and che log pile This was an easy vignette ro ‘make, and I was pleased with the result, The cold atmosphere is created by the effects of bot Snow-Coat and [ee-Coat and the dark colour of the rock face. This is also emphasized by ehe face that the only brighe colours ae the glow of che embers, and the sinall Flashes of red on the grenadier’s shako An added advantage t0 smpon and epavlettes Snow-Coatis economy: if it dries in the bowl while you'e using &, you can jo and it’s ready to go again ~ you dd little mone wa low have co throw it away and start with a fresh batch For comparison, I have included se photos of a couple of snow some time ago ‘The piceates of the small-scale scene of an Icon Age village in the depths of winter are from a cliocarna that I buile some years ago as part of a series for the museum a Zug, Switzetland, At that stage of my modelling I only had plaster so work with to seate deep snow One deswback in using plaster was thar wich Snow: unlike the effets possible oat — I could not achieve the ‘fluffy’ look you gs when people have walked chrough Jesh snow. Nonetheless, the vesule looked sufficiently cold. This riodel was made to a wargaming scale of about 1/65th The photos of a Roman legionary he sow ate from an old vignerte inspired by reading 2 marveloustuiiding up te fre in stages. A blob of carey Claycete, witha fist ayer of grey as scatter, forms the fre bed. Spats of Humizo! Day-Glo paint on white undercoat give the eect of glowing embers. Fre blackened logs ae added fon top, paced so thatthe Day-Clo spots ae overshadowed ~ this seems t0 ‘ake them gl ‘hotter. The logs are then sprinkled with white ash powder, and the fei surounded witha narow rim of grey ash. Fraly, ait lee-Coat round the edges gives the cease fect of melted snow Aire in the open must aways have spare firewood stacked ready — inthis cate, with ance of top desing of SnowCoat,roel by Wallace Bream called Egle im the Spas (aie long being out of print Im delighted co eae thae is ll row available again as 3 paperback — heartily tecommende Although the novel is set onthe bunks of che Rhine in AD 406, and soy model depicts lepionary of the 2nd centuny ae latest, this discrepancy wae ieelevane to she fel of the scene, The figure isan eld one from Series 77, sightly modified, which was ceated by Pa Bil afer hea seen painting {had «commisioned fom Gerry Ensbletn When I made this vignette [had sot heatd of Snow-Coae (if it was even on the marke) I used a snow cover mad 1m micro-sized poly balls, lad over plaster. Unlike snow-Coat, this type of cover has to be fined after adding ie co che groundwork: the only way to do this isco overspray the snow layet with a haitspray, since T wanted to get the effect of snow lying on vegetation, Hold the spray aboue Gin away from the model and horizontally, so that the spray Asif gently down on co the susfice, IF you point it directly, and from too close up, you will si blast the poly-ball snow away The hollow x stump is a short length of balsswood dowel, which I Scale Link; and the reeds at che riled out for most of its lengsh; 1 water's edge ate dried stems from a © lorist. The birch ecees are m then ased 3 Dremel cuter €o up the inner surface co make i look with ewo diferent thicknesses like roteen wood. The ivy leaves on copper wite, she thicker one from the stamp, and the banks of, my spares box and very fine one bracken around it, are both from from an oli telephone wire A vilagerspiting logs behind the palsade in the Zug diorama. You can buld up snow aifts anda snow lip’ at the edges of roofs with aster, but this lacks the gltey,ightnes and Fine conte! you can achieve with Snow-Coat, ane thick edges lok it too much ike et ake icingTECHNIQUES The diorama bul for the museum 2g, Switzerand, m wargaming scale, Showing a corner ofan Won Age wilage Jn winter. At this time | was only using plaster ta cepresent snow his wil sl ‘ive a chilly look 0 your model, but it does ack the sparkle of real snow. My 77mm Roman legonary i the vignette "Watch on the Rune” This was ‘uit some years age, before the advent (of Snow-Cost and eeCoat | used anther snow caver made with ‘microbeads of polystyrene, fixed ater apleaton with a daited coat of hhavspray. An effect of snow caught pon top of bushes ad bracken s attractive ad fle; as long asthe suracescaelully finshed using high qty materials ike Sale unk bracken an Snow-Coat, you can economize by _making the basic bull ofthe vegetation ‘underneath trom something cheap and lig, Remember thatthe weathers windless enough t leave snow iing on {op of bushes 1 wl probably as lin _ndges along the tops of tree branches2 FALSE PERSPECTIVE This diorama was builc some while ago, for the Bronze Age Museum ae Unteribldingen in Switzerland. decided to tnclade ie simply as an tntroduction t0 a method for creating flse perspective, which you can use should you wish co build a boxed or ‘shadow-bor’ diorama, You can create an illusion of great depth in such models, but there are one or evo eles chat dost apply co the noemal type of diorama “The first essential is that the wisibility of the model must be controlled: viewers should only be able to see i from one direction, and wich »cestrceed view — rather like looking through the slot of a letter box. While an ordinary tiorama in, say, 1/35¢h seale may be clesigned to be seen from one side in patticuae, ic can sil be viewed fom al sides without destroying the illusion of slice ‘of the rea woud in miniature ~ 16 other words the sale hols good feom any angle. IF you look 34 false-peespective model from any angle other than the fron, the illusion of realism is instantly lost this is because false perspective is achieved by combining feanues made co dfecene scales. For a military subject, you can of course buy ready-made figures, ‘ehicles, complete or partial buildings and other accessories inva wide range of scales, and combining these for a ‘deep-focus? effec is certainly tempting ~ and achievable, But pling these subjects in a miniaeure landscape with a convincing sense of distance is emphatically nota simple matter of sticking 2 1/72nd tank a couple of mches behind a 1/35th one, and calling ie a battlefield This model was built co represent 2 Bronze Age lake village on the shores of Lake Constance on the borders of modern Geemany and Swiczecland. Keeping a close as possible to the archaeoiogical evidence, the museum authorities are geadualy building a full-scale replica of the village, which stood on pilings in the shallows at the shore (My brief was to build 2 model of the 2a, looking down from high ground inland across eacks and fields co the village a the ‘The real thing - sort of pat of the fu size reconstruction of lke-dwales” vilage that is being built by the Pahaw Museum at Unteuhidingen on Lake Constance, Swtzeriand (to whom | 2am gyatelul for permission to reproduce ‘he pos inthis section),MAIN PHOTO The scene a5 nsible though the eter box sot i the front ‘of the boxed diorama The leaves showing atthe top lef ofthe picture are not, infact, attached to a mode! ‘woe; they ae stuck to the inside of the ‘box 10 that ust the ent ofthe branch is ‘sb ving te impression of trees growing out of your ne af ight The same etect was created on the fighthand sie; and there were azo branches hanging down Form inside hove the viewing sot, helping with the iusion that the viewer was standing in the edge of » wood. waters edge, and on aeross the lke cowards the far shore. The viewpoine vas seta the edge of a Wood, where wo of the villagers ~a father and son — were chopping wood: and the village had to appear to be 2 eo 3 miles away (4m 9 Sk). The only way to give an Impression of this sort of distance is to incorporate a number of areas of ‘dead ground! into the feont-co- back depth of your model: sof designed the scene t drop away in six levels, with each drop created by a ridge in the groundwork, The acnual diorama messueed about pf wide by about Ste fiom front 10 back (coughly Im by 1.5m) Building cis in my flac provided ime with a few headaches ~ not the least of them being, "How am I oing eo get this ove the door?” The whole of the groundwork was italy laid i plascer, over which [used Clayerete for the tracks, and scatter for the rough aceas of vegetation. In the foreground I used static gras, silver birch catkin ‘eaves’. and very fine sawdust under the log that is being cut up. As he view fell ana, L used finer and finer scatter until T got 60 the fields by se village, which ace simply painted direetly on to the grourslwork with no eexsure 3 all MAIN PHOTO, FROM FRONT For what follows, refer tothe main poco with the figures i the foreground! this is the conteolled viewpoint. The figures themselves are about 7ia to Sin tll. The felled rece that the man is cutting up, snd the log hat the bay is hauling along the erack, were made using the witeand-plscee method described in Further Notes on“Teees'in Chapter 4. This tack is on the frst step down and back from the viewer, andthe boy was made alittle smaller than che rman, Both these figures were scratch-buile by Gillian Roberts, who made cher clothing following reference provided by the museum, ‘The nexe step down can be seen where the ack curves round by the toee on the right of the pictur; this free is also a wiee-and-plastt jo, with Woodland Seenies foliage attached with white glue i¢ was inact considerably smallee than those in the foreground, co continue the illusion of distance. “The erack continues across behind the figuees from right co lei, and disappears from this viewpoint ic then reappeas in the middle distance, cunning away fom che viewer more or less straight towards the village actoss the rough ground iis visible in the photo just lee ‘of the axemaris head and hands Unfortunately, because of the angle fom which this shot was eaken by the museum photographer you'll have to take my word for the fact ‘hac Thad made a small cat, being ‘pulled by two oxen and loaded with imbee: but you can gee some idea of the scale [used by the tiny figure walking down the entre of the track, jst visible as a dark stroke left of the axsmanis forehead Sill moving away feorn the viewer, ehe track now disappears lover che next ridge, and teappeacs beyond it slightly Fareher to che lef hey probably cant be made cout at dis size, busin face chere ize a couple of horses beside that rum of tack — very small models fom the Preiser company, who make model cailwa accessories Now the land fills aay for the las time, and che track is tiny head where ic leads to che gate in the palisade surrounding the village. “The village houses are just small cubes of basswood cut to house shape and painted with a variety of colours. Outside the palisade, I created a beach by paincing the plaster underlay wich light sand-coloured acryis the lake itself was coloured a very pale blue-geey. As the scene moved progressively fuether away from the viewer, used Snee and fnee Woodland Scenics foliage and seateers vo make the hedges dividing che fields diminish in size: Finally, the hedges con the furthest piece of land around the village are merely gecon-paineed sisal sting, rolled in the finest cue seater before the pale was dey, with small clumps of foliage stuck in to represent tees SECOND PHOTO, FROM RIGHT This pictare was taken from the right-hand side before the model was boned in — an angle tha the viewer ‘hrowgh the front ‘eter box would never be able ro see when che model vas insaied in che museum, Once again, you ean se che tiny dark uprights of Preiser figures im the 12 ‘ental grey aea— villagers ac work burning off vegetation to create 2 new Feld, On the nearsce of the near hedge around this atea, coms graze on grasy slopes beyond the ‘edge ofthe forest The tees in the foreground were made up with ‘Woodland Scenics Fine Leaf Foliage ‘When seen through the viewing slor a the Font ofthe box this area oF fest appears to be in cotec scale of course, if seen from the lake end of the model, he forest, Sgures, animals and everything else would look very strange. with the glane vwoodeuter and his helper looming on the horizon This picture also suggests how unrealistic the ridges in che groundwork look when seen from the weong poine of view: a series of abeape drops instead of gene folds or slopes “The final elements of this model cannot be seen in either of these photos. The sky and che far shore of the like had eo be painted on a backdrop, which curved right the way round the model ts ends were then attached each side of the Mat front face of he box Ie also had to cutve up towards the fron i the vertical plane, co be fixed above the viewing slot out of the sight line, thus giving a seamless appeacance The whole scene was lt wich natural daylight-coloured fibre ‘optics. Fibye optic ae the bese sway to light « model, if you ean they produce no heat, so thee isTECHNIQUES SECOND PHOTO Looking from the ‘ght Side ofthe made the desgoes ‘wewpaint and vewng sot are at 90 dress tate et, Beyond the forest, ‘grazing cattle canbe seen cn the Pillice, and workers nthe fie. Tis hot alta gives a sighty better view ot the palisaded valage, whch only eases about in (150m) from end to end it ako gives a ht ofthe painted beach a the fig of the water. ro danger of damage to any of the more delicate parts used for your scone, Fibre optics are very exsy £0 tase: you just fix the end under or behind the model, mounted over a light source. This ean be anything from one simple bulb to more interesting coloured bulbs for differene effects. The fibres can be bent into fairly sharp curves tf necessary: lead them through stall holes im the bor container and! fix the ‘business end? inside a suitable your model, You can place them indi Jy as a streetlamp, Tesd them up through the base under aeruck, say. and divide them between the headlights; oF you ean tase a whole bunch of hess on 3 umber of postions for an si! source to give general illumination as in the mode illustrated, 1 sealie this is a very potted description of how to create filse pperppectne and light he cesult: bu 1 ope it wall fre your enthusiasis £0 ceaplore thie fascinating aspect of smodeilieg more closely. In dosing. 1 apologize for the dearth of prceues sn eeuth, once they have gone eo a clint absoad [very rarely get eo see the finished results of may work se tn place. The museums ace normally sell building the display r00 unbuch chey wil be nsalle. a ‘hac stage taking photos of the diorama for the records the ase thing on chs harassed mands, (Indeed, che van that arsed at my home to take this model ro ‘Swatzerland proved to be too small, and passers-by were entertane the sight of a frantic modéller sting ‘on the kseside sawing about Gin off the length of a huge diorama!)127 A WALLED GARDEN When I irs thought of building a model of a formal garden, my idea forthe ‘sory’ was a shocking contrast berween peace and destruction, to be achieved by smashing great holes through the walls and ‘gouging the tracks of a tank across che lawn; [even toyed with the idea of underlining this by including some casual milirary looters, But chen it occurred to me that not all dioramas involving soldiers had to be scenes of ‘muck and ballets. The model turned out to be a celebration of English tranquility ~ che only military touch i an officer of the King’s German Legion, back from the Waterloo campaign and telling the tale of his adventures to the gardene’s boy. Brick WALLS, 230mm x 150mm x Lem}: fom Dick Blick Aet Materials As this was to be a walled ganden, 1 ba it appears tha they have (see ‘Sauces’ chapter) started by making all four walls dropped ehis item fiom their This material 1s sdeal for from a material called ‘Balsa-Foam’. catalogue and Iam currently sculpting co represent brick walls, This uses co be available from trying to find another supplier building fagades and many orher Miceo-Mark in the USA, in blocks For che benefir of American surfaces, You nced no special tools measuring Yin x Gin % iin (about readers, I believe you cam gre it = just a toothprek, oF any otherA WALLED GARDEN BELOW photo taken a a later stage of the work inserted here to danty the layout! ha chosen. | used Catoroam board forthe base ofthe mode itis lightweight, but very stong, Tao ofthe walls are in place here, withthe areas for the paths between the four small laws left certo be ‘gravel lster pointed object T ise measured the length and depth of a standard back, and scaled this down t0 1/35th. I hen used s par of dviders to snbe the hosizontal lines frst, then che | fst made a rough yout sketch to ‘give mysalta sear Gea of how! wanted the fied model t look. The more amplex a dorama, and the more component parts have to fit together accurately, the more important ts planning-and-measunng stage slce vera nes ~ and there was my beck wall AAs chese were o be old walls, gouged our some holes to represent rising bricks, before ging the whole ching a base coat of Pale Geog aye paint. The dea was foe che grey pice to sink nto he courses between the bricks andl (0 Jock ike the moat. Once this had tied, howeves, [vas not 200 happy” vith the result 0 Feed 3 new rethedl I got some dalls-house mortar feom Acorn Crafts, and actually porned the bricks wichA block of asa 0am from which | ‘made the was or the garden, Senting the courses ofthe bricks nto ‘he Bals-Foam ‘wall! wth 8 pair of duiers Dopbrushing the brick colour over the wall, afte applying ‘mortar’ between the courses. Lightly dag the brush {cise the surface so thatthe paint only layson the high spots and does not stan dhe mertar colour 129A WALLED GARDEN A sample of the effects you can achieve I this case te some ofthe bricks diferent colours some darker, some lighter, to give 2 nes appearance to the wall and ve ‘gouges out one of two bricks, as you ten Seen old wal vith Bals-Fs ned this. The resule looked rather beccer than he first attempt. When 1 was dey ~ which took no tame at all - 1 airbrushed a coat of mate varnish er it both ta sea it and to prvvent the nest layer of colour from tinting che mortar The next colour ws made up from a childs powder poster paint was just right for che brick tone. {applied this with a fairly broad foam spatala, so that { could daw the colour across the surface — tater like dey-brushing — co keep. as much brick oslour out of the mortar as possible, After waiting fr brush co pick our individual bricks sath different shades, chis coat ro dey Fused a fine unging from ck red and pale orange this gave the overall appearance of the wall a eange of realistic contrasts. Where [had gauged out fallen bricks’ I used a sttongy orange: the inside of a broken brick, nor having been weathered +0 long, looks much brighter. With «l hed, I made a series of half-round coping brickwork fin stones from the same material coloured them with an aerylic Seone colour feom 9 Woodland Scenics em along the caps of the walls, using white gl The left and rear walls aren place tnd the baste structure ofthe lean-s2 feenhouse begins to take shape; have ade the low brick wal 3 the front and end ofthe building. In the let foreground ae th ‘hat wll ater support the lead water 1 trick padsLawns 1 was going to use a pai of ctched-brass gates from Seale Link at cither end of the pen, 0 1 scanned their width snd drew up the widths of the paths accordingly. With these st, I chen aid out the lawns beowocn then, This was avery simple task: [just cut four pieces of geass matting to shape and glued ther down om ¢o the baseboard with white glue (By the way, dont overdo the gh: too heavy a coating will actually come sup dhrough the matting and stain the grass, a I discovered Thit was cotrected by adding s bit of grass scarcer over che sesined area.) I glued dire of the walls place, lsving one side of the baseboued open for ease oF working, It was then time co stare snaking he lsanto getenhoure ita corner of the tear wall GREENHOUSE The reference for chis was quite tasy co finds the basic layout has hardly changed ar allover the years, and I found pleney of pictures of coaly ones co study. For framework used Plastruce plastic strip, channel and angle, with a small amount of sheet for the panelling Fiesty I pasaced che beickwork of that part of the garden's rear and side walls that would be enclosed inside the greenhouse, 10 ive the appearance of the whitewash that was offen wsed in colder greenhouses to reflec the sunlight and help keep the temperatures up. I then cut a stip ‘of Balsa-Foam brickwork to make the low wall a che front of the g1venhouse, followed by ewo smaller pieces to go either side of the doorway in che end of the building, I copped these chree sections of wall with stips of plastic; Ialso added a torg stip along the bick wall neae the ap, and a shorter piece, sloping down atan angle on the end wall ~ these ‘wo strips were to suppor che roof in due course. also made two brickwork ‘pads’ that would sit against the frone of the builing, on which co place a lead waeer cistern. T then started putting in place anything that would be enclosed once I added the feamework and glazing to the structure T used terracotta flagstones from a dolls-house shop for the main flooring. edging these with sates then, ming up some Clayerete, 1 smade a nacrow planting bed against the back wall. On top of this f laid 4 miscure of brown, fbeous scatter material chat Ive had for years (1 cant remember where Igor it o¢ wae it called, but «does give an eacellene appearance of freshly dug soil): T topped this off with some MMP Mediam Earth pow Next [used some ground-down Olive Green pastel chalk powder eo stain the borzom of che gisenhouse walls, where damp and alge had discolouced the brickwork. aa With the bed laid, I rook some Scale Link bras etched foliage and buile up che fat bass branches with whi glue, applied wich a ‘oothpick, unl ehe fonts had some ‘body’. Oace the glue was dry I painted the stems with 2 Dark Brovin aceylc and the leaves with various shades of green, ‘These were then ‘planted’ in che bed and tacked back againse the wall with white glue To add a bic of incexest to che inside, [ wanted some tools and ‘on oF wo bits and pieces co hang che end wall, made che rim fora sieve by heating a stip of plasticard in hoe water and forming 4 ciecle around a wooden dowel. plucing che ends together with liquid cement once it had cooled T then added a piece of Verlinden sesh co complete the job [sill had lying abour some of the items Ta gor feom Seale Link fo the Fist World War erench diorama; fortunately chese included a spade, which T hung on a hook on the wall (ogethee with some fine ewine ro representa coil of ope), and a broom — which { used Iacee. Obviously the gardener would need a workbench, so [built this along che inside of che font wall of the greenhouse, once again from basswood stained wich a0 (Old Oak wood stain. The axe on the bench was from an old Historex toolset as was the bow sa, which joined the spade on the wall, The watering ean is from aA WALLED GARDEN maker called S8D Models and is also available from Scale Link (honestly, I dont have shares in this company!) Ie was now time to build the feamework and add che glazing to the greenhouse. The frame was constructed using Tseetion, L-section, channel and square strip fom Plaseruct. “The main uprights and the strip slong the centce of the of wee foom square-section, With these in place I added the smaller glazing bars running from the front and rear edges to che conere, made feom section cuened upside down, When allthis had see, F cut the individual panes of glass from seansparent plastic sheet and set them in place, sitting on the ledges of the uprurned T-seetion glazing bars. The next step was to cover the ends of the glass panes at che centee of the 100f this was done simply by gluing one square strip along the length of the roof and then the same again where the slass mec the back of the roof: for decoration I added another length of Tsection, upside down, on top of each of the ewo square lengths The final couch was the addition of a couple of white metal finials ac cither end of the roof where it set the rear wal; these again came from S&D Models. I painted the whole building with OFF White acrylic, and then added small patches of Vallejo Weathered Wood, co simulate spors where the paint had pected. For the panes of the oof I hinned down some OFF White and streaked it over che glass to looke like old whitewash; then L added small amounts of Olive Green aceyhi once again heavily dilueed, to give the appeatance of the algae char you often see on old greenhouses TOP Two pieces of Seale Link brass etched foliage. The one onthe ght is ‘ut straight rom the rt the one on the left has had the stems built up with weite glue, applied with a toothpick BOTTOM A finshed piece ofthe foliage, coloured with acrylic paints133 Closes ofthe interior ofthe gerenhnouse withthe walls whitewashed and green dampsaining added ong the Bottom, The terracotta tle forthe floor and ther date edging both come from Aeorn Cats A narow earth bed {or planting se aleng te rear wall ‘The folage n place, ‘plant along the back wal ofthe greenhouse Diferentszes of plant ae simulated siomly by srpoieg dterenty sized baits ram te ret.A WALLED GARDEN Next [needed a door for she end wall. Teouldse find a ready-made one chat would look sight with this model, so [bule cone from plasticatd and glazed it wih eranspareneshest: The bot Jock is jus a small block of plastica, and I made the koob by taking strip of thin plastic sod snd holding one end near 3 small ga lighter. As che heat melts che plastic cus away fom the Jame and forms itself ineo a neat kc; RIGHT The seve hanging on the end wall is mage from a stop of platcard and a piece of Verinden mesh. The spade comes from Sea Unk Fst "Wri War Pioneer Tao et, and the bow saw i an old plastic one fom Histores, At left i the basood workbench along the front wal of the greenhouse {BELOW A plastic axe trom Historex lying onthe workbench of stained basswood: and a white metal watering «an fram Seale Link, with some very ‘minor actions of my own, just cut chis off and you have a doorknob, (I suppose chat [am obliged co add che obvious ~ you use any kind of naked flame when modelling, cake great care to ensure that you have no volatile liquids oc any other highly inflammable materials on che workbench at the time. Explaining co the representative from che insurance company, a8 you survey the smouldering tuins of your house, chat'T was just making a 1/35th-scale doorknob’, probably ‘worie sound convincing.) The glazing to che froar of the greenhouse is quite simple ‘Teecrion uprights were glued co the main frame and the clear sheet cut to size and glued in place,Building the man famework ofthe rz greenhouse, ung Plastvck square / = secton stp. Pastuct ection sip, placed upside down as glang bas, gave me a ledge fom ether sie ofeach baron which to The squared and Tsection cenve sips place oa the‘A WALLED GARDEN ‘An ovethead shot shessing the completion ofthe glass rot, with whtemetal final at ether end of the rear edge BELOW LEFT The srateh-ut door, this box lock, handle and weathered apd blstered paint job. The broom 63 white metal piece rom Scale Link's Fst World War tool et BELOW A close-up ofthe white meta lap and standpipe fer Seale Link instal outside the comer af the greenhouse‘The whitewashed glass onthe roof, coloured with heavy thinned Off White acrylic applied by dragging the brash feom back to front. then added a litle ‘Ove Green aceylc around the edges of ‘the panes to simulate algae ‘once agnin set vertically on the ledges of the T-section. A decorative bargeboatd was glued along the top fica, and a couple more added co the plastic sheee panel below the windows, giving che impression of six individual panels rather than one long one. The final touch was the addition of some weathering to the weetcal panes of las: this was clone with heavily diluted Buff acrylic, stcaked down the panes where the rain had cut ehrough accumulated dust, Box HEDGES AND PATHS ‘With the lawns in place, I needed some edging to go around them, Thus was made from N-gauge 3 hedging sips fom Js Counteysde Scenes after coating them with wbite gle, ssattsed loose leaves over them to cepresent smal box hedges ~ the leaves came feom the Geman company Nach, svaslable fom Scemie Express im the Staces and Gaugemaster Controls in Betan, I then cat the serps nto vicious lengths ro make se easter to cueve them stound the dawn edges, and once again used ‘white gle go stick them down,‘A WALLEO GARDEN ‘The next move was clay the .geasel paths, which were made from Woodland Scenics Small “Talus, This is a material intended fr use as scree a the foot of 2 model rock face but, inthis scale, fc makes cacllent gravel T took the talus and shook i chrough a fine length ofthe javis N-gauge hedging, flour shaker to separate out the ith eitona leaves rom Noch, to smallest pieces for che paths; then “Tete ow Box hedge [ painced the path shapes on the baseboard with white glue, and used che shaker to seatter the gravel into place {closeup ofthe leaves from: Noch that | used ta give more texture tothe reging without them the N-gpuge hedging stp is too small fora proper scale appearance. Note, to, that eves this lage up the grass mating has a realicay varied appearanceStarting to ay te gravel paths, sing sieved Woodlang crcl n the centre sto take the sundial its Howerbed, nis talus, The length ofthe box hedging putin place around the edge of one ofthe lawns. This hedging quite exile and conforms exally tothe outne ofthe ras, White gle holds in place Closeup ofthe grave laid between the ‘box hedgingA WALLED GARDEN. My ‘Grecan’ bust, now far rom her native Mekong Delta .. Shes fnshed ‘wath ead paste made by the French ‘company Pebeo, whichis usea by lasipainters to get the eect of the leading on staned gis window is ‘easly applied with an old brush and then buffed up. The company can be contacted at www pedeo.com on the ‘web you want to find your nearest distbutor, but quite afew artsand- rats shops cay SUNDIAL AND STATUE Thad lefe a cree uncovered in the ridale asa space for the sundial. Teut up some minature clay lbs and glued these ‘woltooth’ shapes around the cascumfetence of the extele: I then sed scatct to make a stall Aowerbed insde this edging, 0 wich I planted some wax lowers foc a bu of coloue. The sundial itself was a piece of wood, turned to shape and then patted 4 Stone colour. The dial 1s an face a clock face from a Seale Link brass etched set, and I made the tiny goomon (che blade which casts the shadow ‘on the cal) feom a small prece of scrap brass, When the sundial was place, T added the last gravel around 1s flowetbed ‘Whale making decorative bts I thought ] would add a touch of class; Tas seating to feel propaetorial abour my gacden and fancted sometheng in the classical Line — why nota aymph? “Taking the top half of a Viee Cong aie from che Verinden VC oe, removed the seams and collar of hee jacket and, using Valley> Plastic Pury, I gave her a (sore of) Grecian hairdo, {stack the Finished arile on anocher shaped piece of stone-coloured dll a che plinth, I chen used“The sundial place its cular flowered. The pedestal was sezatchu, the face mas from Seale Link ang the gneman is rom scrap bass. The bed is edged with cipped tes, and planted with we lowes 4 lead-colouted paste to make the bast che right colour: this comes in tube form from 3 ‘company called Pebeo, and can be found sm most arts-and-crafts shops: The final rouch was the addition of some Seale Link exched brass wy leaves ewining up from the base, The finished article was then glued in place, and che Lase bats of gravel were scattered ite glue around 1. DOING THE GARDENING {was now eae t0 add the rest of the flowerbeds. These were lad slong eae Foor of che walls, with Claycretedeesed and 2 top coating of the same fibrous seater that 1 wed inthe greenhouse. Then I made sup lengths of ‘shrubs’ which agnio cexme from vilway scenery supplied 14 ABOVE The basco for the BELOW The Claycrete layer inthe flowerbee flowerbeds, made with Claycrete. dressed with a fibrous sate fom my spares box which gives good ‘earthy’ look142 ‘A WALLED GARDEN Java “shruby’ against the wall ame from {he spares box. The mide row of planting i jut Medium Coarse Flioge from Woodland Scenics; and the front ‘ofthe border i eippings of heather ‘matting from Green Scene. The bunches of mauve ‘aubreti’ on te walls come feom the Acorn Cats Gol'shouse shop, 3s do the tal green things (whatever they're supposed to bel) nthe corner14 Another angle on the owerbed and the interior ofthe greenhouse; obvious, depending upon season you cou iven up the border plantings wth spats of colour for owers, Note thatthe brick piers against the wall ate capped with slanting bles; these were both for ‘decoration and to shed rainwater, preventing it rom penetrating the tops ofthe brick eotuens by Javis They can be stretched to 2 certain degree and will hold cheie shape, Ta front of these added some coarse Woodland Scenics green foliage seater, and for he front row of low ground-covering border plants T use a mating feom Green ‘Scene, which actually eeprescnts treater but looked fine for my pest purposes. Many old walls have planes actually growing out of the courses Lbeaween the bricks, so [randomly added small comps of fine given, foliage to all three walls; then, for a pocal couch of colour, I placed a couple of large clumps, painted mauve to look lke flowering aubretia which can grow where you s0 much as spie on 3 cracked stone), Marte Tree ‘The small decorative tse wa made ‘once again — by the Bacry Bowen method: 3 doubled and ewisted wie aemanure, covered with plaster after seding« htle whic gh tothe mix ro make the plaster moce flexible I painted some Seale Link ceched-beass maple leaves with sceyles,cut them ofF che fet ant stuck them in place using superglue As you can se from the photo on page 144, ac this stage che flat brass stems of the leaves ae tll snrelisially visible, so T went over ‘he whole eee with another layer ofthe plaster/white gle mix ro ‘lend these into the branches. Uber oil paint with a lor of whige spit, and let it flow over the crunk and branches. As the tree is coated in plaster this wash soake in and dries almose inssantly: should you wish to dasken the effec, just repeat wneil you get the colour you like. The finished tree was then glued neo the Aowerbed with white glue Gates ‘As mentioned above, I wanted to.use a couple of Seale Link cetched-beass gates, one a eithee ‘end of the garden, I had already fixed che two end walls co the baseboard, allowing the right size of gaps for the gates to fit, and nad built gateposts for che back gate. For these [used basswood (Gvhich T much prefer to balsa considerably les ‘hairy’, and cakes‘A WALLED GARDEN into mary spindly branches, covered in 2 plaster and white glue mix, 50 that | ‘ould still maniouate the branches wine the plaster had more or less cre. BELOW Starting Photo-tched leaves, using supergue The pre-pinted leaves are attached vou can see in ths closeup how the attachment sis o the etchings stand Proud ofthe branches. To hide the attachment strips ofthe leaves, go over the whole ree again swith another ayer of plaster 10 fae them into the branches ‘OPPOSITE Two angles ofthe finshed ‘maple tee in pace, in the corner flowered by the back gateNaauvo aatiwm y147 ‘Te dal’ house bricks wed as brick sts for the tant path outside the gate. Aer laying these | added afew tay lames of weeds inthe cracks paint beste. I painted the gatepoxcs mat black, and then used some MIG Products weathered wood paint co simulate where the Back had peeled off Now I exended the gravel path ar the back ofthe garden s0 that i reached a lal bie farther than the ‘gateway and aca path of brick sets coutsid the fone gate, The bricks came fiom Acorn Crafts and ate actually 1/ 12th seal, bur in this case they Looked fine. pained the ‘gates in acrylic Mate Black over an undercoat of Auromorive Grey Haring made 2 groove inthe inside face of the back gateposts and in che brickwork for the frome gat, I stuck the gates in place with superglne, and finished off by adding tiny clumps of weeds between some of the bricks of the font path cistern, The water cisten that I placed on the brik pads atthe end of the greeahouse was made from thick cardboard and thin lead shect. Tut 4 stip ofthe cardboard and scored 1c s0 that I could fl i into a hollow squace, which was chen stuck cogether with whice ge, Tee four strips of half-xound plastic sod and seuck them on the cxbosed former to give me ahal-round shape along the lips ofall four sides of the sistem, I had sleeady cut slong sxtip ofthe lead sheet, which I had made twice as deep a the cardboacd: I seuck this strip around the former and chen sit che top half vertically inline with each corner of the caxdboard former, thus allowing roe to bend the four sections down separately to cover the inside of the cistern. I could then press the lead into place over the top edges using the rounded end of a paintbrush, to give me the rolled-edge sppearance that I wanted “The decorative plague on the front was jes a small dsc of lead punched feom the sheet, and scribed with a desig om the back co give me raised decoration on the Front: this was then fred with white glue. ‘The whole ching was then given a ‘The lead cistern set. onthe brik pac, filed with water st of by floating leaves; barely visible nere are the decorative plaque and some tiny ‘oreen ferns growing out from the cdamp shadow under the side ofthe tank: Note, to, the steaky stains and weathered paintwork onthe greenhouse.‘A WALLED GARDEN dll, weathered finish with some MMP powders, and soft pastel chalk for che streaks of greenish staining often found on old lead. Once ie was all dy T sack a square of thick plasticard inside the cistern about Sem from the top. I vas going to add water but I didiit wane 0 have w pour a layer of resin, wae for ito set, and keep repeating this el the cistern was fl: by making a false bottom ¢o the tank I could just pour one of two layers at the most I mixed some Olive Green _ghass-painee’spaine into Woodland Scenics Realistic Water, and poured fein. Te cook oo layers, and while it vas deying [added some floating fallen leaves. BRICK PIERS, AND IVY I ad now reached che point where T none co fix the fourch wall sn place on the baseboard to enclose the garden. I had lef cis wall aside, and now set about adding detailing co che anne face. I made 4 couple of brick piers in the same way as Thad made the walls, by carving the courses of brick into a piece of Bulst-Foam, and painted thers co-match che rest of the brickwork, Tadd lay ies, bough shop, set ata slant on top of cach 1m the local doll’-hovse pier, [stuck the piets in place wich white glue: and then started adding tendeils of iny to the wall For this I took some Spanish moss, which I got from a florists shop. to make the Fibeous-looking The Llttl stems of the climbing ivy. I stuck the base of the stems tu the wall with white gle and then, using 4 soothpick dipped in the ghvs, I teal acks where I wanted the rest ‘of ehe stems to go I chen simply laid che Spanish moss sn place over them: cis is much easier than trying to put the give on che fiddly bies of moss before placing chem. The next step, imescapably rather slow, but I believe I'm afta, is that i's the only way to achiewe a realist layered’ look to the iny. You can get bags of pre-coloured iy leaves from the 4D Model Shop: these are stuck on co the Spanish moss stems with white glue, one at a time, Stare at the bortom of the stems, so that as you progress up the plane ch leaves core cach other in layers. The easiest way ¢o do this is eo use a fine painebtush rnolsten the tip and pick mp # leaf transfer it to a pair of small ip ic in a drop of white ple and place tin position on the tweezers; stein. When you have finished, boeshe psayspsine them with caf Company - i ‘The 40 Model Shoo supplied these ‘bags of ncviual iy eaves by The Lite Leaf Company, or the cerning model” they conta ‘many more than the ones you can sometienes get from Hudson & Alen Studios inthe USA, san varnish; cel joy leaves are quite glossy, but high gloss varnish tends to overdo the effect Once all the detailing was in place on che wall I stuck iin place with white glue. The lsst bit of ‘gardening’ lefe ro do was vo model the flawerbed that ran along this Jase wall, for which T used che same materials and method as for the previous ones. Ir waste quite as easy with the last wall in place, since access was mare eestricted, but by working mostly over the wall [gor the job done. Ik only remained to add the Figures of the officer and the gardener’ boy, both kindly provided. by Charles Davis, and my garden was Finished. T rather wished I could put a deckehair on the shady lawn, and enjoy a long cinkling lass as che shadows lengthened14 Sticking the Spanish moss iy stems" to the wal itis much easier to decide ‘where you want the stems to run, apply the white glue co the wal fs, land then ly the moss along the tail of _gjiue, than isto ey applying aero the mess. BELOW The easiest way to apply they leaves to pck them up one by one ‘withthe tip ofa moistened brush, pick them off ith a pai of tees, dp the ‘van edge ofthe lean white give, ane then apply it tothe Spanish moss stemsA WALLED GARDEN LEFT Acjust te leat so that ts angled downwards an hal covers the lst one you added; that way you gradual bull up a realistically ovetapping layer ong the stem, The leaves come pre-clouted, but add few variations of green Yyourseltighter green for ‘ones a the tips ofthe gt ‘OPPOSITE TOP Now | had to a ‘vegetation tothe fowerded along the foot of he four wal, which was a bit Ulekler than the other beds since | had restcted access and had to work almost from above. (confess that during this process | managed to break the pointer fof the sundial not anc, but three cian bust at top centre, iy stems standing proud times.) Note, behind the ofthe top of ere wall: I used Scale Link iny for this, to give the necestary igi (OPPOSITE BOTTOM Locking towards re end ofthe greenhouse and the back gate BELOW The detailing ofthe fourth and lost walls finished and iis glad in pace, enciosing the garden,A WALLED GARDENatahetateaaetaiateritineneeneel For this picture! ad outa large piece of grass matting and placed a couple of made tres ont to ive the appearance of parland beyond the orden wall This overhead view ofthe completed ‘mode! includes largely for orientation Te diorama measures about 12a 18in 300mm x 460mm).ABOVE Natural dayight, ble sy rea! background folage and 2 hint of @ neighbour's aot Seen inthe tance all helped reat thi illsion of reality Looking down into te garden from above the model trees placed outide the wall1s A SECOND WoRLD WAR STREET ‘One thing that always strikes me when I see models of battle-damaged houses or strets in Second World Wor cliramas is thar there ie nearly enough rubble for aealism. A theee-storey, double-walled house of ‘hat petiod would have comtained 30,000-35,000 bricks, and after arial bombing or sustained shelling most of them would have wound up in the stret. In cis model Tv ered to give a better idea of what a couple of smashed-up buildings might rally produce, though even this is understated R trey fin gee en ones smagarines such as old look atthe wartime photo on vwsctime copies of Notonal page 158 of the aftermath of an Geographic, Lift ot Puctsere Post, which air raid on Norwich in the Blitz can ofien be found at militaria of late 1940. shows orca boot sales, Probably My tadel shows a sree in a the best reference ofall tro be bombe-out sown inthe US zone found in the Book Th Rite Th of Germany in 1945, with the sand Now edited by Winston Rarnsey rubble parly cleared ro allow and published by After th Bal To motor caf T seacted in the usual way, with a base made of two blocks of polystyrene stuck together side by side. Since most of the groundwork that would show would in this case bbe metalled road, and the rest would be hidden under ehe rubble, I dle bother wich an initial layer of Clayerete, but started on the bualings straight awayA SECOND WORLD WAR STREET The eal thing: a Britsh suburban house after an aie raid nthe 1940 Bitz, The rule pile reaches the second storey; tnd note that mos ofthe timber ements ota madera house ae high up inthe rat, bedroom floors and partion wal -s0 their wreckage naturally finishes up nea the top ofthe heap. This photo was taken before any of the rdsble od been cleared up ‘ur model is ofa street that has been roughly cleared by bulldoze to alow traf through. This pot is rom the Osprey Ee Roy Porters Mode Auicings Mostercass, which is highly recommended. Photo Essters Dally Pres) Wah one exception, the buildings in thie adel all came from the Great North Roade company Iam 9 achieve, Linke the easly plaster impressed with the excellent y have managed to castings on the matket the detailing is ris and, since they ate coramile plaster rather than of Pans they are much strong also have che adv needing any andescoating or enamel can be applied directly to the casting, Town House The Firs building I wacked was with the Great Nocth Roads “Town House’ esstin ced of a gable end, and chimney these ss high, and a section of side wall with window apercaces.T paimted the brickwork on the chamacy beeast with a powdered poster paine thac almost exactly the sighe brick colour. When 1 was dey {went Aan example of one of the ceramic castings by Great Nowth Roads, svaight from the box; note the sharpness of the cast deta 15 corer this with acrylics and picked out a number of the bricks im different shades to add cealistic vatiety. I coloured the plaster surrounds of the ficeplaces im the two upper storeys, but T diet bother to decal that at ground floor level since this ‘would be hidden by rubble in the finished model ABOVE The fist bulding fr the made! was the town house, which has 2 two-pece gable end ~a wall, gas. wih ths separate chimney breasts Fixed 50 ata give a decent depth to the fireplaces LEFT The casting pated overall wth brick colour poster paint, wh contrasting boeks picked out Ailerent shades of see. The lint and window sil are cement colour“The final portion ofthe c {dv have any cheney pots, 0 made ther from Pasruct tubing wh the ips, and cat sighty holes inthe cement cap of the‘withthe bricks and plaster ofthe chimney breast pated, | start adding ‘the umbers fr the upper floor Here the spacing sts ace in place between the joists, and thin taths nave been added Underneath for the celing ofthe room below ~ see below 16)A SECOND WorLD WaR s7rcti Looking up athe remains ofthe

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