Model Railroad Blog

Chain Link Fencing

It’s a common modeling problem. We’re trying to model something we see on the prototype and the only part available is grossly out of scale. The problem compounds if the part in question is something we see every day. Do we omit the part? Do we include the crude “soap carving” so we can say we took a stab at what is actually there?

Experienced modelers often offer the sage advice “No detail is better than a bad detail” something we should think long and hard about. For the sake of clarification, I’m going to call a “bad” detail as one that is overly thick in cross-section.

The starting point of the discussion always has to begin with knowing how thick the element in question actually is. Next, we have to gain an inherent awareness of how large a scale inch is on the scale we model. I’ll save you the trouble of looking a few things up…

A scale inch is: .011″ in HO, .006″ in N, and .021: in O. Worth committing to memory.

All of this brings us to today’s topic, a perpetual thorn in our modeling rears, modeling chain link fencing. Exceptionally fine and delicate in nature, it can be difficult if not impossible to scale down the mesh to scale size. What to do?

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Actual chain link fencing has mesh an eighth of inch thick (.001 in HO), five openings per foot, and dark grayish brown in color.

The first step is to recognize we have a problem. We need to recognize that most commercial representations of chain link fence aren’t even close and trying to make them work is so visually jarring that you would be far better off simply omitting the detail. The second step is gaining an understanding of the dimensions involved. In other words, measure a fence. The spacing of an actual fence mesh works out to five openings per foot. The mesh itself is an eight of an inch in diameter, which scales down to a mere one thousandth of an inch in HO. Holy crap! Finally, color is paramount and fence mesh is not silver as many modeler’s frequently use, it’s a dark brownish gray. Painting an oversize part a bright color accentuates it’s liabilities, painting it a darker dull color disguises or downplays liabilities.

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BLMA fencing, Berkshire Junction EZ Line for barbed wire, .020″ fence posts.

In looking at the commercial fencing products on the market, the fencing put out by BLMA is by far the best. BLMA is the best material for commercial fencing though. While the BLMA mesh appears very fine, it’s actually about five thousands of an inch wide. In other words, it scales down to five eights of an inch in width compared to the one eighth of an inch of the prototype. That’s five times oversize. To combat this I put a fair amount of time in knocking the shine and lightness off of it. First is a coating of Dullcote. I follow this with multiple light passes of a dark India ink/alcohol wash applied with an airbrush. In some cases I will also dust on some dark brown chalk also.

Chain link fencing is such a common feature of the landscape, and modeling it effectively so challenging, we need to tread lightly so as not to detract from other areas of our layout we’ve worked so hard to model convincingly.

Easy Outs For Proto Freelancing

Looking back at my last four layouts, two have been purely prototype based, the other two proto-freelanced.  I can’t say one type offered more enjoyment over the other.  From a scene composition standpoint though, proto-freelanced projects such as the LAJ can be particularly challenging.  Left to our own imagination there is a general tendency to end up with implausible, overly compressed, toy-like scenes.  The best way out is to scour the landscape for a prototype scene that would fit your theme and simply copy it.

The LAJ is proto is proto-freelanced.  I used the Horn Lead as a general guide but have not modeled it exactly.  What I have done is pour over photos from surrounding blocks and then picked structures that do actually exist.

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I’d been struggling with what to put on the inside of the curve in front of Sweetener Products.  A weedy gravel lot would be an easy out in that it would give a clear line of sight to the rolling stock while I’m operating.  What I really wanted though was something that was more “signature LAJ”.  By that I mean the ubiquitous curved spurs diving into a narrow alley between two structures.  Back to Bing Maps “Birdseye” to scan the landscape.

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It didn’t take long before I found a perfect fit in a scene a few blocks from the Horn Lead at 5610 Alcoa Avenue, a complex housing Modern Pattern and Foundry.  With a few minor adjustments I can almost copy it to exact scale and plop it right into the vacant footprint on the layout.  The depth will need to be reduced but depth compression is much less noticeable to the eye from standard viewing angles.

Proto freelanced layouts can be highly convincing if we can train ourselves to select prototype scenes that “fit” and simply copy them.

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Their are a number of features of this scene at 5610 Alcoa Avenue that are highly representative of the LAJ: the one story brick structure, the sawtooth corrugated steel backshops, and the track curving into a narrow alley.

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I finally finished up the Sweetener Products corn syrup structure.  Once I decide on the foreground composition I’ll add the unloading hoses and piping.  The image originals that I wanted to use for the photo wallpaper contained no doors, somewhat unrealistic for this application.  One of the more involved aspects of the photo editing was cropping in the roll up doors in such a way that the graffiti was continuous.  Stand off details consist of scratch built downspouts and scuppers, security lights, and a vent.  For the roof vents I used the Walthers details painted with Alclad II lacquers plus some K&S aluminum tubing.

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