BALLASTING AND SCENIC PREPARATIONS
Steps 1, 2 & 3 I ballast the track using fine sand rather than ‘model railway ballast’. I’ve always found sand easier to tamp into place compared fine granite chippings. It’s then fixed with diluted PVA glue and the obligatory drop of washing‑up liquid.
Once set, I apply washes of brown and black to represent oil and grime – I use a mix of artists’ acrylic and matt emulsion paints. The trick is to work quickly to avoid softening the PVA used to fix the ballast. If you do want to paint the edges of the rails in a ‘rust’ colour, try to avoid going too red. Again, look at the real thing – there are no hard and fast rules, just a case of copying what we see in real life.
Steps 4 & 5 The ballast in railway yards, especially from the steam era, tended to have a very smooth surface and certainly no discernible ‘shoulder’. To recreate this, I use DAS modelling clay worked into the surface. I find it easiest to ballast the track as normal with your chosen ballast, then once set, smear the clay on top, using a little water to help shape and smooth the clay.
The underlying ballast will provide a key to help the clay adhere. Remember to allow clearance for rolling stock wheels. Use a stiff brush to help to pummel the clay into place. A stiff wet brush can also be used to create a bit of a clay slurry to help to push it into the ballast. Practice brings perfection, so you might want to have a trial run first.
Step 6 I needed to install a bridge over the riverbed at this point, so that the ground cover in front of the dairy could be seamless. The basic carcass of the road bridge was formed from foamboard, covered with stone embossed plastic sheet. Styrene strip formed the coping stones and arch brick overlay.
Step 7 The bridge was primed and painted before installation, using a range of acrylic and emulsion paints, built up over several dry‑brushed coats. I aimed for a close rendition of the local Devon stone, using reference photographs as a guide.
Steps 8 & 9 The bridge was then installed, along with the station platform and cattle dock, before the DAS clay was spread around the whole area to form the yard and road ground cover. Embossed plastic sheet was cut and fixed to the railway side of the riverbank, while contoured pieces of insulation foam were cut to form the other bank.
Step 10 Once the clay had dried, I painted it. I like to use matt emulsion match pots for this as they’re cheap and they offer plenty of coverage. Lots of organic shades are available and they can be intermixed to create a wide palette of tones. For large open areas, I use mid‑grey with slightly browner shades around the track, feathering the various shades together. Once dry, further lighter and darker washes can be added. My recommendation is to try and avoid going too dark. Viewing a landscape from afar, which is what we are effectively doing, the subject will appear lighter than when viewed close up. It will also help to create a greater feeling of space.