Model Railroad Blog

Cheap Ass Bastards and DCC

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The LAJ layout is powered by running a tap downward through the floor to the Downtown Spur in the basement below.

 

I seem to recall an event in my son’s hormone laden teen years that resulted in him branding me a “cheap ass bastard”.  It probably centered around a differing point of view as to what constituted an “essential” item.  The latest edition of Call of Duty wasn’t an essential in my mind, apparently it was in his.  I wasn’t offended.  I mean, it is true.  Self acceptance is the path to inner peace.  It’s sort of like being a modern era modeler, N scaler, or Dallas Cowboys fan,  We are who we are.

As it came time to belly up to the bar and buy a control system for the Los Angeles Junction project, the cheap ass bastard in me began to raise its ugly head.  I was having a hard time getting motivated to plunk down six hundred bucks and I’m not ready to launch on the battery issue yet.  In addition, the shelving to house the system components would break up the clean lines of the room.

One afternoon as I was experimenting with some mock ups it occurred to me that not six feet below the floor lay the Downtown Spur layout in the basement beneath me.  Had the subject been of more life importance I  would say I had an epiphany.  All I had to do was drop a feed from the LAJ bench work, through the floor, and tap into the Downtown Spur grid.  Wireless goes through walls so why not floors?  I dropped the feed, connected the taps, and….success!  The LAJ runs like a charm (o.k. it’s only three feet of track but still) using the other layout’s control system.

 

Hand Laid Track

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Inconvenient truths.  These are things that we’d rather not be the case but are.  Philly cheese steaks with fried onion ring toppings aren’t good for you (don’t have to even look that one up) but we’d rather not know that. Fortunately our evolutionary development has granted us coping mechanisms such as rationalization and denial.

One of the many inconvenient truths of model railroading is that stained, natural wood, ties look light years better than their painted flex track counterparts.  No matter how polished the technique of painting plastic ties, it’s virtually impossible to get the subtle tones and textures of stained natural wood.  Staining the ties and doing the traditional “spike every fifth tie”, while more time consuming than laying flex, doesn’t take that long. There’s a catch though. The problem is the tie plates.  You lose almost as much as you gain visually because the lack of tie plates is very apparent and the over size spikes more than a little distracting.  That leaves you with two options, flex track with the limitations of painting plastic vs. hand laid with the limitations of no tie plates and over size spikes.

There is a third option but it’s no silver bullet, hand laid with scale tie plates from Proto:87 Stores.  This solves several problems but at the expense of a new one, it is exceptionally time consuming.  I’ve tried a few manufacturing methods, including the tie plate jig, and have yet to settle into a method that moves quickly for me.  This means the hand laid with scale tie plate method is viable but only for the smallest of layouts.   You may hear people say they “plan” on this approach for their forty by forty foot empire but if they are truly seriously considering it there is the possibility they are a meth addict or one step from being cast in “A Beautiful Mind, Part II.”  With this method you need to: stain the ties, cut TWO tie plates from the fret for EACH INDIVIDUAL tie, center them, and then attach them to the rail.  The tie plates are such that they need to be aligned perfectly on the tie or being slightly off center will be pretty apparent.

When I build a new layout, such as the case with the LAJ, my goal is to make each one slightly better than the previous one in terms of modeling execution.  In keeping with that goal I’m forging ahead with the hand laid/individual plate approach.  The only thing keeping me from losing my mind is that the layout is so small and there isn’t that much track.

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Here’s the finished result of the first section.  The ties were dipped in a bath of black and brown Tarrago leather dye, highly diluted with rubbing alcohol.  I poured the alcohol in a small container, sloshed some of the dye in, and then dumped the ties in to the mix.  How’s that for a scientific description?  The next morning I dumped them on a paper towel and wiped the excess off each tie.  The tie plates were centered on the ties and glued with thick viscosity CA.  To attach the ties to the track I took a section of Micro Engineering Flex track, removed a block of five or six ties, and then glued the wood ties in there place.  This method kept everything in gauge as I worked.  When done, I added joint parts to the outside of the rails.

I painted the rail a prototypically dark color which has the downside of hiding some of the details.  First you have to mask off the ties (see I told you this was time consuming).  I airbrushed on a base layer of Model Master Schokoladenbraun ’43 (number 2096).  This is a pretty close match to the old Floquil Roof Brown.  After that dried I dusted on Rustoleum Earth Brown camo. paint from a rattle can.  That’s it, all done.

All of this ties into one of my central themes and that is that model railroading is NOT an expensive hobby.   Looking at the glass half full side of things this method creates exceptional results at a very low cost and spins out to a lot of hobby time.    As such it’s a prime project for students, military personnel, and those with limited budgets.

 

 

 

 

Visiting the LAJ

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The quality of images available on Google Streetview has reached the point that site visits become less necessary.  The one drawback though is that Streetview images are only taken from the street and the right of ways we want to document aren’t always visible.   I ended up with a spare day on a recent trip to California and decided it was worth the effort to drive to LA to fill in some gaps in my image library.  Clearly the decades long effort at smog reduction has worked as I was rewarded with a day of brilliant sunshine and deep blue skies.  Such lighting is a double edged sword.  You get deep, vibrant colors in images where the sun is to your back and images with washed out sun flare when you need to shoot photos facing the south (which I did).  Vernon, CA makes no apologies for being what it is, an industry only enclave.  The section I was interested in still had a lot of architectural charm  (o.k.  interesting to us, probably not to our spouses and the rest of the world!) while at the same time was clean and safe.  I was approached by a friendly plant foreman that was nice enough to provide a little supplemental info. on operations.  Offspots are prevalent.  The LAJ switches this section in the late afternoon.

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Perfect lighting!  Notice how light the rail is here.

 

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4722 S. Everett Avenue.  This is a view I wanted that wasn’t available in Streetview.

 

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The meat distributor would make for an interesting modeling subject.  The oddly shaped arched roofs are a common architectural feature of this area.  Federal Cold Storage is in the background.

Color Layers & Color Spectrum

Color Layers

It’s safe to say I’ll never be accused of being a cultured art critic.  That aside, in the last year I’ve had the chance to visit some of the more notable art museums on the east coast and attended a number of art festivals.  The difference in a painting done by one of history’s masters versus a very skilled regional amateur isn’t immediately apparent to the unskilled eye of somebody such as myself.  Over time though you do the notice the difference.   It’s hard to define but there is a lack of depth or flatness in the work of the beginning artist and an equally hard to define depth and snap to the work of the master.

The same applies to model railroading and it’s taken awhile to put my finger on it.  It has to do with how many color layers we use and how skillfully we blend colors that are just a small step beside one another on the color spectrum.   The fewer the colors and the harsher the transition, the less realistic our results.  For example if we just use a single color tan soil to model the scene above it will only look average at best.  If, however, we are able to separate out four, five or six layers of tan, all very close to each other on the spectrum (but not identical) and very artfully feather them together the look quickly improves.  As you examine the photo above, notice the soil is not just a uniform tan.  There are multitude of grays, browns, and muddy blends throughout.  I’ve highlighted just a few of the areas to illustrate my point.

Getting there isn’t easy which is why we often fall short.  First, we have to recognize that the issue exists at all.  Second, we have to pin down the illusive question of “what color is that anyway?”  Third, we need to develop skills in subtly blending the colors so the transitions aren’t harsh.   If you follow the weathering tutorials on The Rust Bucket Forum you can get a sense for how many layers the guys use and how much effort is devoted to subtly blending colors and not having harsh edges.  Finally, we don’t do it for the simple reason that it takes more time to work with a blend than one color.

Creating the number of colors we need is easiest with paint.  Manufacturers such as Model Master have a massive range of colors. In addition, we can and should, also mix our own colors to get the look we want.  With soils it’s harder but can be done.  Between Arizona Rock and Mineral and Scenic Express enough soil colors exist that they can mixed into most custom colors we would need.  Grass is trickier because there are fewer colors available in the grays and browns.  Even there, working in Heki’s Prairie Grass as a base goes a long way in breaking up uniformity.