Richard Foster, Ed­i­tor

Model Rail (UK) - - Dealer Directory -

Did you en­joy Peter Dillen’s beau­ti­ful dio­rama on pages 6/7? It re­ally is a stun­ning piece of work and is made all the more re­mark­able by the fact that, as you can see by the ac­com­pa­ny­ing pho­to­graph, it’s only very small. It works on so many lev­els. It’s beau­ti­fully pre­sented, draw­ing your eye into the scene. And what a scene it is! Cap­ti­vat­ing and mes­meris­ing, it’s also beau­ti­fully sim­ple. The build­ings are only made from card (some are given a coat of scribed plas­ter) but it’s the way that they’re painted that cre­ates the im­pres­sion of depth, cou­pled with a per­fect ex­e­cu­tion of forced per­spec­tive. ‘Ijs­sel­stein’ proves that our Euro­pean col­leagues are streets ahead (no pun in­tended) when it comes to in­no­va­tive think­ing, lay­out pre­sen­ta­tion and at­ten­tion to de­tail. Why? Is it be­cause they place more em­pha­sis on the model-mak­ing and less on the rail­way? Some Bri­tish mod­ellers think like Peter Dillen. Chris Ne­vard, Paul Mar­shall-pot­ter and Gor­don and Mag­gie Gravett are the first names that spring to mind. ‘Cat­cott Bur­tle’, ‘Al­bion Yard’ and ‘Pem­poul’ are just as cap­ti­vat­ing. Even a rail­way-cen­tric lay­out such as Pete Water­man’s ‘Leam­ing­ton Spa’ can teach us how to cre­ate a be­liev­able scene. View the rail­way at 100% and then model out­wards, grad­u­ally re­duc­ing the scale to cre­ate a sense of dis­tance and per­spec­tive. This is what Pete and his team have done, and to good ef­fect. Keep­ing your mind open to new ideas and con­cepts can pay div­i­dends.

Mod­el­ling hours: 15 Note to self: Try to fin­ish one lay­out be­fore em­bark­ing on an­other!

Peter Dillen’s ‘Ijs­sel­stein’ at the War­ley show on Novem­ber 25/26 2017.

Newspapers in English

Newspapers from UK

© PressReader. All rights reserved.