Work­bench

Model Rail (UK) - - Workbench -

1

The prom­e­nade was painted with Green Scene’s tex­tured white, with black added to pro­duce a light grey. A layer of Poly­filla forms the beach, deeper at the back to cre­ate a slope.

2

I then faced the prom­e­nade with more Wills’ stone sheets, coloured ex­actly as I had done for the har­bour (MR228). On the curves, these were held in place with tape while the glue set.

3

I wanted a small area of rocks at both ends of the beach so that I could model some rock pools. These were al­ways a favourite for ex­plo­ration when I was a kid.

4

I cast rocks us­ing Wood­land Scen­ics’ cast­ing plas­ter in one of its rub­ber rock moulds. Once these had set hard I em­bed­ded them in wet Poly­filla, leav­ing gaps for pools.

5

Some fairly di­lute Poly­filla was then brushed in around the rock cast­ings to fill any gaps or cracks. Pieces of bro­ken cast­ings can also be worked into these ar­eas.

6

The next job was to com­plete the plas­ter­ing of the beach area, mak­ing sure that the thick­ness of the cov­er­ing ta­pers away to noth­ing at the edge of the base­board.

7

I used Wood­land Scen­ics’ earth colours - grey and brown, to paint the rocks, mist­ing the area with wa­ter mixed with a drop of wash­ing-up liq­uid be­fore ap­ply­ing a light coat of paint.

8

I added yel­low to brown paint to cre­ate a sandy colour be­tween the rocks and dusted it with fine real sand. Rock pools were filled with white PVA glue: two or three ap­pli­ca­tions were needed.

9

The sand cas­tles, just shaped from some fairly thick Poly­filla, were some­thing of a last-minute idea. The whole ex­posed beach area was then brushed with the sandy coloured paint.

10

Next, the beach area was treated to a brushover with slightly di­luted PVA glue and then sprin­kled with fine sand for as re­al­is­tic an ef­fect as pos­si­ble. The area which will be the edge of the sea was left un­painted at this time.

11

Adding the fig­ures brings the lay­out to life and is re­ally en­joy­able! I ar­ranged plau­si­ble groups and fam­i­lies us­ing the Preiser fig­ures which I pre­fer to those by Noch. The lat­ter tend to be car­i­ca­tures and are less con­vinc­ing.

12

Paint­ing the sea was a case of blending the sandy colour into the ‘wa­ter’ with plenty of white for surf and light re­flec­tion and plenty of blue-green for ‘wa­ter’, the colour be­com­ing slightly darker fur­ther away from the beach.

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