A limestone rock face known as the ‘Scarthin’, modelled in 2mm scale for a commissioned showcase diorama model of Cromford Mills.
MAKING THE TRANSITION FROM 3D TO 2D
There are a number of techniques that may be used to ensure that the modelling, which is all executed in three dimensions, merges successfully and blends in with the backcloth, which is in two dimensions only. Both rural and urban scenes will be looked at. Special attention will be given to the ways in which various buildings will fit up to the back scene, examining first half- and low-relief buildings and second perspective and forced perspective modelling.
THE RURAL SCENE
Many modellers attempting to build a model railway will prefer to choose a rural setting for the layout. The term ‘rural’ can of course apply to many variations and extremes within the landscape, from the flat open fields of the fens or Somerset Levels to the mountains of the Highlands, Wales and Cumbria. In between these extremes, a good amount of the British countryside features hilly terrain, including the Yorkshire Dales and the Peak District of Derbyshire and North Staffordshire. Other significant areas consist of moorland, with the Pennines, Dartmoor and the North Yorkshire Moors coming instantly to mind.
A limestone rock face known as the ‘Scarthin’, modelled in 2mm scale for a commissioned showcase diorama model of Cromford Mills.
Closer detail of the rock face, showing how the modelled trees and undergrowth blend into the back scene.
One of the reference images selected for this landscape-modelling challenge.
A layout depicting a rural scene will have landscape modelling right up to the back scene, and it is this area where this book will focus its attention. The landscape modelling may consist of fields, woodland, hillsides or even just a railway cutting. In each case, the blending technique will be very similar, using trees and vegetation to mask any obvious join. Open fields may prove a little more difficult as the right type of vegetation will not exist. Careful attention to the colour will be required, with lighter shades being used running up to and continuing on the back scene.
This can also apply to hillsides and cuttings, although flock added along the join, to replicate vegetation such as bracken and so on, can create a convincing mask between the landscape modelling and the back scene. Other materials such as natural dried lichens, rubberized horsehair or even cooker-hood filters can be used to replicate brambles or gorse and other rough vegetation found in such locations.
RURAL FEATURES
Trees
The area where the modelling landscape meets the back scene could also have a few trees along the extremity, or it could even be completely tree-lined if there is woodland extending beyond. There are of course many species of tree, including deciduous and coniferous varieties, but the smaller species of the deciduous trees tend to work better in these areas, as they look more in proportion to the model. Perspective will always need to be taken into consideration: even large trees positioned right at the back of the layout will appear smaller than those positioned at the front. This needs to be exaggerated even more to give an illusion of any trees here receding and merging with the back scene.
A corner of ‘Peak Dale’, where a combination of careful landscape modelling and positioning of buildings has created a convincing blend with the back scene.
The combination of the hedge and the bridge parapet divides the model from the back scene perfectly on the end board of ‘Duffield’.
The river diminishing into the back scene.
The modelled trees and hedgerow, showing how the use of foliage blends perfectly with the back scene.
Another example of foliage on a limestone cliff blending with the back scene.
Low vegetation and rough grassland blending with the back scene. The long grass on top of the cutting was created by using old filter pads.
A wider view of the limestone cliffs, showing how the trees and undergrowth create an undefined join between the modelled landscape and the painted back scene.
If the work is done well, the viewer should not be able to see where the three-dimensional modelling ends and the two-dimensional back scene begins.
The natural sea moss (‘forest in a box’) now available from Green Scene and Gaugemaster is ideal for creating the smaller species of tree. The first stage is to select sections that would make the best trees, then prepare them by removing any of the unwanted seeds that come with this natural material. Before painting I tend to coat the trunks and larger boughs and branches. Bark can be created effectively with a mixture of PVA glue and ‘No More Cracks’ plaster filler brushed on to the natural material, gradually building up the texture required. Other materials can be used, especially for the larger trunks and boughs – for example, PVA glue again, but this time mixed with DAS modelling clay rather than the plaster. The clay can be applied using the fingers first, before sculpting with a lollipop stick or dentist’s probe. Alternatively, bark may be created simply by using a glue gun.
Once you are satisfied with the bark effect, whichever method you have chosen, the next stage will involve painting it. Humbrol spray paints are recommended, giving the trees a coat of matt grey or olive green and, in the case of silver birch varieties, matt white. Surprisingly, brown is not the right colour to use – although it is perceived to be the colour of tree bark, it very rarely is, except in the case of a few species of pine and yew.
If the deciduous trees are required to be in full foliage, the next stage will be to add sufficient flock to replicate this. The flock should be denser within the crown of the tree. It is also advisable to choose a colour of flock that is slightly lighter than you might expect, as this will add to the illusion of the trees receding into the distance and blending with the images produced on the back scene.
If the model is to be set in winter, there will be no need to add flock to the branches and twigs of the trees. You might want to add some of the flock to the trunks and lower branches, however, to replicate any ivy or other parasitic species using the tree. Such growth will still be evident during the winter months, when the tree has lost all of its leaves. Observations show how remarkably common it is, so adding it will only make the modelling more realistic.
The sea moss can simply be spray-painted to replicate the frost on the tree, using a combination of Humbrol’s Gun Metal and Halfords’ white primer paint. Giving the sprig of sea moss a light spray of these two colours will result in a reasonable replication.
Another example of landscape modelling successfully running up to the painted back scene – the wonderful 2mm layout ‘Fence Houses’.
Farm buildings painted on the back scene, along with the trees surrounding them. These have been merged with the modelled trees positioned at the back of the layout.
The hedgerow has been modelled right along the join between the back of the layout and the painted back scene.
A fence line being used to create a join.
The hedge this time has been painted on the back scene rather than modelled. Note the careful grouping of the cottages and the trees.
The most impressive section of the ‘Fence Houses’ layout has to be the model of ‘Victoria Viaduct’. The landscape modelling, consisting of mainly trees, extends into the back scene, and it is almost impossible to see where this ends and the artwork begins.
A similar view, complete with a train crossing the viaduct. Note how the setting has put the train into scale with the landscape.
Hedgerows and Bushes
Hedgerows can be used very successfully along the join, to create a mask between the model and the back scene. Various materials can be used to replicate hedgerows, including carpet underlay felt, rubberized horse-hair and scouring pads. All these materials will form the main structure of the hedgerow and will need to be painted, using a matt olive spray paint, before any flock is added. Fine flock can then be applied using spray mount. The finer flocks on the market are best for replicating any of the hedgerow species, such as hawthorn, blackthorn, beech and holly. To model the hedgerows in the winter, do not add flock, unless your hedgerow is an evergreen species such as holly. Frost can be added to hedgerow using the same application as on the trees.
Bushes can be made either by using natural lichens such as reindeer moss, or by using rubberized horsehair. This can be spray-painted using the same matt colours as before, or the natural colour of the lichen can be utilized without adding any colour at all. Flock can be added in the same way as on the hedgerows, again using the finer flock. Try using a mustard-yellow fine flock to replicate the flowers on gorse bushes, white for hawthorn bushes or pink for wild rose bushes.
THE URBAN SCENE
When considering how the buildings will fit up to the back scene, space will usually be an issue. It might not be possible to fit the whole building into the space available, especially when the structures appear at the rear of the layout. The accepted way to model these buildings is to treat them not as a whole building, but as half a building, or sometimes less. This approach can, however, lead to problems when running up to the back scene. If it is not addressed properly, the building can look completely wrong when modelled in this way.
The front of the first section of the card mock-ups ready to be fixed up into position.
The second section of the card mock-up screens temporarily added in position.
Another mock-up, again made from recycled cardboard. This time, the quarry lift structure has been made up ready to position.
The mock-up positioned up against the back scene at an angle. The use of a mock-up will help with achieving an accurate join, as any adjustments can be made easily at this stage.
The finished model of the stonelift structure, painted and ready to be positioned on the layout. Any mistakes will be made on the mock-up and then corrected before the final model is constructed.
The stone lift in its final position on the ‘Peak Dale’ model, showing its relation with the back scene immediately behind.
The large model of the bonded grain warehouse No.4, which features on the ‘Calcutta Sidings’ layout. The half-relief model works well with the back scene because the hipped roof sections run at right-angles to it.
Just along from the large grain warehouse is this modern metal-clad prefabricated warehouse. The shallow gabled roof works with the back scene board in the same way as its larger and older equivalent.
A gable-roofed building or one with a hipped roof, for instance, will look wrong if the side elevation is modelled in half-relief or less, and the apex of the roof butts up to the back scene. By turning the building through ninety degrees, with the end elevation facing, a better impression will be achieved. If you do choose to model the building with the side elevation facing, try increasing the depth to around two-thirds rather than half. This way, the building’s roof will be extended over the apex for a short distance before meeting with the back scene. This will allow for any chimney stacks appearing along the ridge to be modelled in full. By making these adjustments, the model building will look much better when viewed from the front and from the side.
Sometimes, there is not enough space to model the side elevations of buildings in this way, but there might be other options. Fellow modeller Martin Nield came across this problem and asked me to help sort out a low-relief building he proposed adding to his pre-grouping layout, ‘Eccleston’. The building in question was a Methodist chapel that would fill a vacant space, and fit right up to the back scene. The space was very limited in 4mm scale, with only around 2in (50mm) of depth available for a relatively large building. The building would also need to conceal an operating switch mounted right at the back of the base board. The back scene boards had already been cut to provide an aperture, making the switch accessible to the operators at the back of the layout.
Martin had found a prototype from the local area to use for the model, but there were a few issues with the side elevation, as the roof could not be modelled without looking completely wrong. The front of the building included a low parapet, which continued on to the side for a short distance. In the end, using this architectural feature to the best advantage helped to solve the problem. The parapet was constructed at twice the prototype’s height for the model, and was extended along with the cornice to the full length of the side of the chapel. By making this change, the parapet provided a mask for the section of roof behind, thus improving the look without losing too much of the character of the original.
Martin’s layout features a number of other buildings that fit up to the back scene, some of which were constructed in low relief to fit into tight spaces. A few of these buildings also act like the chapel to conceal operational items, such as switches and, in one case, a mechanical lever frame complete with the locking table. The back boards were cut out to accommodate these, as they are all fitted right at the back of the base boards. However, there is no sign from the front of any of the operational items, due to the careful positioning of low-relief buildings up against the back scene.
The low-relief model of a Methodist chapel that Martin Nield and I built to fit up to the back scene of his pre-grouping Lancashire & Yorkshire Railway layout ‘Eccleston’.
Industrial buildings featured on ‘Eccleston’. Martin positioned the buildings at different angles, successfully merging them with the backdrop. Some were modelled in half-relief, while the public house and the mill office were modelled in full. Careful positioning can create realistic results, even in a tight space. It is always worth making cardboard mock-ups first, and moving them around to determine their final position.
The pub on ‘Eccleston’ was modelled in full and positioned at a 30-degree angle, while the stables were positioned parallel to the backdrop and modelled in half-relief. The roof line was continued slightly over the ridge. This always will look more authentic than modelling the ridge fitting up to the backdrop.
I have included this photograph to illustrate the problems we are faced with when placing a road and buildings up to the back scene, especially if they are positioned at 90 degrees to it.
The industrial lime-burning kilns, modelled in three dimensions at the back of the layout, have blended perfectly with another building painted on the back scene. Careful attention has been paid to reproducing the two-dimensional painted version, using perspective to achieve an authentic result. The back scene has become an important part of the visual presentation of the Clay Cross Model Railway Society’s exhibition layout, ‘Hindlow’.
In contrast to ‘Hindlow’, the industrial buildings here have been modelled right up to the back of the layout. The scene has not been continued on the backcloth, with a plain blue board being used instead.
The model of a pub intended for a quayside diorama. Flat-roofed buildings or those constructed with a high parapet to the front wall can work in extreme low relief. The pub building is less than half an inch in depth and will fit directly to the back scene, making the building look visually correct as well as saving plenty of space.
This prototype of the Bottle & Glass Inn at the Black Country Living Museum illustrates the type of building the model was based upon. Note the high parapet on the facia, which hides the pitched roof behind.
Stone warehouses can be modelled effectively in low relief. By modelling the warehouse with the gable ends facing, the buildings will blend much better visually with the back scene.
Another way of blending the three-dimensional urban modelling with the urban back scene is by using some kind of walling. This low-relief section of wall, including arches occupied by small workshops and businesses, would work perfectly.
Photograph of a terraced row of houses, taken with the camera at right-angles to the buildings. As long as the roof lines are kept parallel, there is no reason why this image could not be carefully cut out and pasted directly on to the back scene. The low wall in front could be modelled in three dimensions and positioned right at the back, to make a convincing transition between the model and the back scene.
Walls and fences may be used effectively to make the transitional break between the three-dimensional model and the two-dimensional back scene. Illustration 1: perspective has been used on the industrial malthouses painted on the backcloth, as well as on the modelled wall and road in front. If everything is positioned correctly, this can give the illusion of the model continuing from the base boards. A: the malthouses drawn out and painted in perspective using a vanishing point. B: the wall is modelled, again using perspective and the same vanishing point. C: the road in front is modelled in the same way. Illustration 2: perspective has not been used here, with the terraced row of houses drawn and painted parallel to the model and the base board. A simple stockade fence, possibly made from old railway sleepers, creates the transitional modelled break. A: the row of terraced houses drawn and painted on the back; photography could also be used. B: the modelled stockade fence provides the transitional break. C: the railway modelled in front also runs parallel with both the fence and the terraced row. Note how the depth of the layout can be condensed and yet still look convincing. Illustration 3: the same terrace of houses has been used running parallel to the base board again, this time with the back gardens also modelled. Perspective has been applied to the garden walls, with the tops sloping slightly downwards towards the houses. Both the perimeter wall of the houses and the stockade fence bordering on to the railway have been modelled parallel. A: the terrace of house has been reproduced slightly smaller the before, as it is to appear further away. B: each dividing wall separating the properties is modelled running at right-angles to the houses. The tops slope downwards to give the feel of perspective and depth. C: the stockade fence is again modelled running parallel with the back lane in between. D: the railway is modelled running in front.
Modern low-relief buildings can work well with the back scene. This office block on the Mickleover Model Railway Group’s ‘Farkham’ layout has been modelled as if under construction, showing its steel fabricated frame. The open construction works well with the backcloth behind, although awkward shadows can be a problem. The lighting arrangement supplied for the layout has, however, reduced this to a minimum.
The correct way to model a low-relief building with a pitched roof when positioned parallel with the base board. A: the building has been modelled in half with the roof ridge fitting up to the back scene. This will always look wrong from all angles. B: the same building modelled in such a way as to allow two-thirds to fit up to the back scene. The roof line is therefore taken over the ridge to create depth, making the building appear correct. Note also that this has allowed the chimney stack to be modelled in full, creating a much more convincing result.
In his modern image layout, ‘Stoney Lane Depot’, Graham Hedges has successfully used a combination of low-relief buildings together with sections of painted buildings appearing on the back scene. Perspective has been used to create the right effect in this tight corner. Note also how he has curved the road away on the back scene to give the illusion of it continuing off the model. GRAHAM HEDGES
Another section of ‘Stoney Lane Depot’, where low-relief modelling is combined with painted images on the back scene. On the church, for example, the tower is modelled in low relief and the rest is painted. This effect is very convincing when viewed from the front, giving the illusion of depth to the city landscape. GRAHAM HEDGES
The use and exaggeration of perspective can give a convincing result on models, but it is seldom used correctly, or even attempted. A: here the building has been positioned parallel with the back scene, but the gable end has been made wider at one end than the other, at the same time still allowing the pitch of the roof to run over the ridge. The end walls are also modelled at an angle rather than straight; this combines with the front wall and roof ridge set at an angle to give the building exaggerated perspective. B: the same building is modelled as a whole, although this time at right-angles to the back scene. The end walls, side walls and roof ridge are all modelled with perspective running towards a vanishing point somewhere on the back scene. The road in front also continues with perspective taking it to the same vanishing point. C: how the model building will appear in 3D perspective. D: the building running parallel to the back scene, the opposite way on to A. The gable-end angles are also shallower and less exaggerated. E: the building shown in 3D, giving a good idea of how it will look on the layout or diorama.
Two plans drawn out: (left) an urban scene based on one of the brewery railway branches in Burton-on-Trent. The railway is in the foreground, with the street and terraced housing receding towards the back scene; and (right) a rural scene, which includes a branch line in the foreground and a main line appearing in the background, positioned just in front of the back scene, with the diminishing landscape in between. The urban scene features A: the brewery branch railway with level crossing, modelled in the 4mm zone; B: the signal box controlling the signals and the level crossing, modelled in the 4mm zone; C: the left-hand row of terraced houses, starting in the 3.5mm zone and diminishing to the 2mm zone; D: the right-hand row of terraced houses also starts within the 3.5 mm zone and diminishes to the 2mm zone; E: the chapel is modelled in the 2mm zone using forced perspective; and F: the street diminishes from the front in the 4mm zone and finishes right up to the back scene in the 2mm zone, using perspective along its length. The rural scene features A: the signal box and the level crossing, modelled in the 4mm zone; B: the railway, positioned at the front of the layout in 4mm scale, using 00 EM or P4 track work; C: the crossing house, mainly within the 4mm zone; D: the row of cottages can be modelled into the 3.5mm zone; E: the barn appears within the 3mm zone; F: the farm will be modelled in 3mm scale; and G: the main-line railway elevated on the embankment will be 2mm scale, using 00.9N-gauge track work.
An illustration of the same section, to give an idea how the urban brewery railway layout will appear when modelled. Again, it is divided into the same zones to show how the same features (A–E) will look as they diminish towards the back scene. This is based on the layout measuring 2ft (60cm) in depth with the track work placed at the front of the base boards.
The rural section has a base-board depth of 4ft (120cm), to allow for the two railways to be modelled in different scales. This illustration has again been divided into the same zones, with all the buildings and landscaping features (A–G) to be modelled in the relative scales as they recede towards the back scene. When including two railways in different scales, it is vital to keep constant the distance between them, otherwise the effect of the perspective will not work.
Considering scale and perspective on an elevated railway. Here, the railway has been elevated on a five-arched viaduct crossing a deep river valley. The track and trains are modelled in 4mm scale and will be viewed at eye level (D). Features such as the buildings and trees are below eye level, so they can be modelled smaller in scale, giving the illusion of perspective. The buildings along with the trees in front of the viaduct (B) can be modelled in 3mm scale, while the barn at the rear of the viaduct (C) will be modelled in 2mm scale, because it is further away from the viewing point (D) as well as being lower. The trees in this area will be modelled in the same scale and will blend into the back scene (A). The Victoria Viaduct on the 2mm scale layout ‘Fence Houses’ is a good example of the use of this effect, although without the buildings.
THE REAR OF THE BACK SCENE
The back scene boards will always be more robust if they are supported on some kind of framework. This applies to both fixed layouts at home and layouts or dioramas that are built to go out to exhibitions. Most exhibition layouts will be operated from the rear, so the rear of the back scene boards will be visible to the operators. The front of the back scene boards will display the artwork of course, but the rear can also be used to accommodate various items for the layout’s operation.
To illustrate this use, it is worth looking again at ‘Eccleston’. Martin Nield created a framework for the back boards, making them more substantial for transit to exhibitions and for fixing up to the base boards. The framework was also extended with a sturdy housing to accommodate switches and wiring, creating a tidy environment for the operators to work in.
The back of the boards can also be utilized to display information that is relevant to the operators, such as a track diagram locating the points and signals, or a working timetable or train operation sequence cards.
The rear of ‘Eccleston’ is wider at the station end, so the back scene is not straight from one end to the other. Rather than creating a shallow-angle join, Martin opted for a slight curve in the back scene boards. This construction tends to look much better from the front, with no obvious joins visible to the viewing public. To achieve this slight bend, he used a commercially available MDF that has been pre-cut half-way through with a series of vertical saw cuts. This board is flexible and can be bent to the required curve when fixed into position.
In some cases, low-relief building can be used to house operating devices. Here, Martin Nield has used a building to house a manual lever frame. With the back scene boards and the building removed, the frame is revealed; a cut-out in the back scene board gives access to the operator.
With the back scene boards back in position and the tank house back in its location, the lever frame inside is not visible at all from the front of the layout.
A view of the back of the back scene boards shows how the lever frame has been accommodated. Such a solution is well worth considering when planning the layout, to save as much space as possible.
The reverse side of the back scene boards of ‘Eccleston’, showing how switches have been accommodated within the framework. The section with grooves cut along the full depth shows where the back scene board curves to become wider at one end of the layout. The use of a gentle curve rather than a shallow angle will always look better, and give the impression of the back scene being continuous.
Another lever frame, positioned on the edge of the base board. This required a larger cut-out in the back scene boards, necessitating a larger building to hide it from view.
The large low-relief mill building that fits over the lever frame. It can easily slot into position, fitting right up to the back scene and totally hiding the frame from view.
PERSPECTIVE ON BUILDINGS AND OTHER FEATURES
Perspective modelling is often overlooked by railway modellers, which is a shame as it can greatly improve the look of a layout as well as solving space problems at the rear of the set-up. This approach can also be taken a step further, with the buildings being modelled with the roof lines and ridge descending from one end to the other – in other words, with perspective being applied to the buildings at the rear, increasing their visual accuracy. The perspective will need to be applied at a gentle angle, otherwise it may not look right. Some buildings will benefit from having steep angles to the end elevations and shallow angles to the sides and roof profile. This is called forced perspective and is worth experimenting with. It is a good idea to make up a simple cardboard mock-up first, then fit this up in position in order to determine whether the angles look too steep or too shallow for the location for which the building is intended.
Perspective can also be used on other features besides the buildings; for example, using perspective on roads, walls and fence lines will show them all to the best advantage. Straight roads, walls and fences will, of course, work well, but the technique may also be adapted to others that are not straight. This will need to be carried on to the back scene, where the perspective modelling in three dimensions meets up with the two-dimensional artwork.
If there is sufficient depth at the rear of the layout or diorama, perspective modelling can be used to give the viewer the illusion of infinite depth. The idea is to model all the features, such as buildings, trees, walls, and so on, in the same scale as the railway. The scale of the modelling will then recede gently, moving towards the back scene. If this is carried out with care, the finished result can look quite convincing. If you are not too sure about how to carry out the technique, especially with the buildings, try building mock-ups first from cardboard. A little extra time and effort here will bring their rewards.
Most modellers tend to model everything in the same scale as the railway, but there is no reason why features at the rear should not be modelled in smaller scales. This technique can also be used in other areas of the layout’s landscaping; for example, if a valley is a feature of the layout, the railway may cross this on a viaduct. The scale at track and eye level will obviously need to be the same as that of the railway, but there is no reason why any buildings or other features positioned lower in the bottom of the valley should not be modelled slightly smaller. When planning a model railway layout or diorama, careful consideration of the perspective will allow you to accommodate a surprising number of features in the space available.
