Here’s a map of the prototype area I finally chose to use as the basis for the LAJ switching layout. It took quite a few hours of (enjoyable) virtual rail fanning via Google Maps and Bing Maps to finally settle on a location. I’m satisfied, however, that I’ve finally found an area that embodies the look I’m after.
How do you learn how to compose a scene? It’s a very pertinent question and one that was asked by a visitor that dropped by today. It was also a hard one to answer because it’s more art than science, more of “I know it’s right when I see it” sort of thing. Scene composition has to do with the elements we select for our scenes, their size, and of critical importance, the space between them. Get it right and you have a model of a railroad. Get it wrong and it looks like a 1960’s “model railroad”. I felt bad that I really couldn’t give my guest as many specifics as I would have liked. What I did say was make very heavy use of mock ups to give things the eyeball test before committing.
For a proto freelance layout element selection becomes dicey as we can’t simply copy what is there. We have the multiple goals of picking elements that tell the viewer where they are but do so without cherry picking. Cherry picking is defined as avoiding the natural inclination to just choose the coolest elements and ignoring the ordinary ones that put a stamp on a place. For the LAJ layout (Note I decided to go with LAJ for the name as opposed to UP 38th Street). I’m emphasizing the one story art deco structures, the ragged pavement, lot’s of abandoned track, and abandoned curved spurs. I also wanted to incorporate a diagonal street for visual interest.
Spacing between elements also becomes very tricky given the very limited space we have. All too often pushing the envelope of packing things too close together quickly pushes us over the edge toward the toy look. Again, you need to let your eye be your guide. I do suggest though that you keep your pavement lane widths and structure set backs at prototypical distances. That alone will help.
The sketch above is where things stand now with the LAJ layout. The most difficult problem yet to be solved is the exact depths of the structures. How much depth do I allocate to the background structures vs. those in the foreground. It will take a lot of trial and error with mock ups. I also need to be aware of viewing angles and photography angles, being particular careful that foreground structures don’t block the view of signature scenes on the back side of the track. Also, how to handle the transition from streets to backdrop is a very thorny issue to be resolved. Progress but much planning still to be done.
Here’s the mock up as it stands today. The only thing set in stone at this point is the prototypical road widths.
Since finishing the bench work for my LAJ switching layout I’ve been playing around with scene composition and a variety of design ideas. Nothing really got me excited enough to commit. The reality is that the vast majority of the modern day LAJ just doesn’t make for a compelling modeling subject. Like much of the nation, vast swaths of its once fascinating switching spur network have been abandoned. What remains are essentially featureless concrete cubes. I was confident that if I stuck with it, spent enough time virtual railfanning on Google Streetview and Bing Maps, I’d eventually gain traction. Sure enough, there it was, the scene I was looking for that says “this is the LAJ”. The shot above was taken at 4799 South Maywood in Vernon. This scene, combined with one on Everett Avenue and District Blvd. give me enough to launch what will be a project that I’m excited about. The Downtown Spur is very close to the prototype. East Rail drew on the prototype for inspiration but wasn’t an accurate representation. Each layout was equally enjoyable. That being the case I’ve decided to make the LAJ proto freelanced, drawing from a variety of scenes in the Vernon area but not a purely prototypical representation. There just aren’t enough compelling, side by side, rail served scenes in existing to pull it off.
Most participants in model railroading, as with any leisure pursuit, are looking for a casual creative outlet, a break from the everyday without any overriding compulsion to be a master at it. This is as it should be and I point it out without any condescension. I enjoy surfing and playing basketball and can say in all honesty I have little desire to be that great at either. The fact that I’m a “dabbler” doesn’t detract from my experience.
With any pursuit, however, there will be a minority that does strive to be the best they can be, to be “excellent” at it. You can’t reach that promised land however, if you don’t know what the specific skills are that must be mastered. This not knowing what we don’t know is probably the largest limiting factor in creating excellent models. The disconnect comes from not making the distinction between a clean technical execution and a clean execution PLUS that hard to define artistic edge. An edge exemplified by modelers such as Bill Henderson (Coal Belt), Mike Confalone, or John Wright (Federal Street). Striving modelers reach the point of technical mastery, think they’ve hit the skills finish line, and stop. There isn’t an awareness that the race isn’t over and there are major elements beyond being a good “assembler, detailer, and painter” that must be mastered if you are to be excellent. The big three are scene composition, texture selection, and color selection/color placement (getting the ‘right’ color in the ‘right’ spot). Mastering the big three takes time and study, both of which typically doesn’t happen because modelers aren’t aware of the importance (or even the existence) of the subject matter.
The above photo is an aerial of the intersection of Gifford Avenue and District Blvd. in Los Angeles. The color patterns of the pavement and soils are very complex. Simply putting down a monotone layer of Woodland Scenics ballast and a uniform gray street won’t get you close. I count at least five soil colors with different feathering patterns in different locations. The pavement isn’t any simpler when you look at the mix of various ages of concrete, asphalt, cracks, expansion joints, and faded markings. A careful study and determined effort to match the photo will be rewarded with a unique show stopper of a model. It’s one thing to say that such a study is delving deeper into the hobby than a person wants. It’s quite another to be a striving modeler and not be cognizant that the subject needs study in the first place.
The shortest distance between two points is a straight line, something real railroads have first and foremost in their minds when it comes to going from point A to point B. In real life, railroads go a LONG way without turning. Unfortunately, our basements are so small that we can only go a few feet before we hit the proverbial wall and need to turn. Taking something that is long and straight and bending it back and forth so that it fits in our basements is a real design challenge both in terms of realism and creature comforts. Going back to the 1950’s the ‘go to’ design solution was the dog bone solution shown in figure 1.
Figure 1
There are four major problems with the dog bone design shown above:
Figure 2
Unfortunately, the dog bone has become the design solution of choice, almost by default. In reality it should be used only as a last resort. Railroads are mostly straight and the features around them are generally parallel or perpendicular to the right of way. To the extent we can maintain that linear spirit with our layout designs the better off we will be. They will look better and be more comfortable to interact with.