STEP BY STEP

1

Do your research. There are lots of images available on the internet. I printed off a selection and began by drawing out a front wall using a standard 12mm by 20mm window size where possible.

2

The standard window size would allow use of a sash window from York Modelmaking. Non-standard size windows would need to be made up. I used 5mm foamboard and cut with a sharp knife and steel rule.

3

The end walls have step gables which stand above the roof line and required some careful cutting out with a fresh, very sharp blade. The real things are in poor shape, so a little ‘damage’ really does not matter.

4

The end walls have a 5mm rebate to accommodate the thickness of the front and back walls. Using Deluxe Materials Speed-bond I assembled two halves – front and side and back and the other side.

5

The front wall is set into the end wall rebate and, where necessary, foam nails were used to hold it while the glue set. Worried about possible warping, I installed floors of foam-board at this stage.

6

The inner end wall for the tower was built the same way. Care was needed to ensure that floors were fitted at the right level and not across any windows. A dry run ensured that the two halves fitted together.

7

It is important to give the clay a key to hold it on the foamboard, so I carefully spread on Deluxe Materials Speedbond. The clay can be applied to wet or dried glue; the former is, perhaps, more effective but more messy.

8

A golf ball-sized piece of clay was rolled flat, like pastry, and pressed into place. I use my fingers initially, then a small spatula-shaped tool from an Expo Tools sculpting set, followed by the roller again.

9

Here, the spatula-shaped tool is being used to spread and press the clay into place. A small knife-shaped tool from the same Expo set was used to cut the clay out of window openings while it was still wet.

10

I used the knife-shaped carving tool to score the horizontal courses onto the clay, making sure they aligned with the previous work. Innovation was needed to support the work at this stage – there were already signs of warping.

11

Having scribed the horizontal courses, the verticals were embossed with the blade of a small screwdriver, staggering them like brickwork. The screwdriver blade needs to be kept free of dried clay.

12

The inner end wall of the tower was embossed in the same way but only after the position of the lower roof had been marked. There’s no point in wasting clay and time on an area that will not be seen.

13

Next, I used Revell acrylics to paint the walls. I mixed matt white, black, beige, and brown but I was unhappy with the shade as it is too dark and not brown enough. More white and some yellow would have helped.

14

The detailing comes next. I used a variety of materials, including balsawood for doors because I like the visible grain and it is easy to score planking. Styrene sheet was used to create the decorative door-head.

15

The steps were assembled from eight layers of 1/16in thick balsawood glued together and to the wall, where a gap had been left in the stonework. A coat of thinned Woodland Scenics Smooth-it was added.

16

Smooth-it can be sanded or filed once it has dried and this made the steps look more like stone. Use a fairly coarse small file to smooth the surface and slightly round the edges.

17

Despite the warping of the walls being limited by the use of weights, assembly became a wrestling match. A sash-cramp and some strong rubber bands held the job overnight while the Foam Tack glue cured.

18

The roof is 2mm mount card surfaced with Scalescenes TX18 slates. The section on the tower was a cut, fit, and trim job in order to get the best possible shape above the curved bartizans.