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hon3_rr
Fireman

Premium Member


Posted - 07/10/2015 :  4:05:04 PM  Show Profile  Reply with Quote
I want to thank all those who took the time to visit and see the progress of this build.

As this was a new wall, I needed to add the vertical siding to the wall. Another batch of 2x8 strip wood for the vertical siding was prepared and colored using the same procedures as shown on page 6 of this thread. The major difference was the use of Acetone in place of the ETOH to set the pan pastel coloring.

(309) Grain and pre-color the 2x8 strip wood stock as described on page 6.

The pre-colored 2x8 strip wood being placed on double sided Scotch Tape for coloring.


(310) Color the strip wood using the Pan Pastel and Acetone as a solvent to set the pastel. This alternate solvent was suggested by Jerry (Trains1941) and I wanted to determine how the Acetone would affect the Pan Pastel when used as a fade.


(311) Mark off the area of the wall where the vertical siding will be placed.
(312) Color the area where the vertical siding will be placed with a dark black-grey hue craft paint. I used Delta Ceramcoat 'Charcoal' as described on page 5 of this thread. When applying the paint, try to avoid any weeping or painting of the adjoining colored stone wall.
(313) Color the stone wall using the same colors and techniques as used on the other walls. I also was careful to avoid coloring the usual number of 'darker' and red stones due to the size of the stones in this wall. This was to avoid having the darker hues appear in the wall due to the surface size of the stones.

Colored stones on wall and 'Charcoal' colored area where vertical siding will be applied.


A couple of additional pictures of the colored wall with the larger stones. These were taken prior to the final light wash of 'Flesh' to give the stones the lighter hue of the 'mortar' film on the stone faces.




(314) Apply the vertical siding making sure to use the bottom (base) edge of the stone wall when placing the square. Recall that I had a few of my boards on the first wall at an angle due to my error of using the top wall edge when placing the vertical siding.

(314a) Trim the excess wood siding flush with the top of the wall. NOTE: If you are going to add a wood base or trim to the top edge of the walls, then remove the excess wood siding after the addition to the top of the wall. I made an error here. I should have trimmed the siding after I installed the wood edge forming the base on which the roof sits.

Bevel wall with vertical siding applied.




Top of Wall Edges:
I needed to level the top edges of the mill walls to make the roof plate fit flush with the top of the walls and level across the mill side-to-side. The foam walls are also thick (approximately 1/2 inch for 2 walls of the denser foam and 2 walls 1-inch thick of the softer foam.) making the fitting of roof cumbersome. I had lightly beveled the inside edge of the soft foam chute wall and beveled the wall to allow the roof plate to clear the inside edge of the foam due to the roof slope angle.

Another issue was that the top of the wall edges are uneven due to the spackle, stone carving and even a couple of compression/indent points due to handling.

The final issue in making the roof fit correctly is that wall with the stone extension was also cut to low in vertical height. When gluing the wall into place I lined up the foot/bottom edge of the wall with the adjoining walls. I did this due to the doors on one side of the walls. The end result is that the side walls extended at different heights above the back wall.

Without substantial additional trim work of the walls, the roof plate would not fit flush and clear the inside wall edges correctly.

To sand the wall assembly to make the roof plate fit flush was not an option. Doing so would make the top wall edges no longer horizontal, and this would be particularly noticeable on the chute wall with the sign.

I decided to use a wood edging on which the roof plate would sit. The wood can be sanded as needed to obtain a good fit with the roof plate, or different sizes of wood strips can be used to adjust the pitch and height differences.

Using wood strips will create some gaps along the wall edge. These will be filled with spackle and colored to represent mortar.

I determined that the use would scale 6x6's on the chute, beveled and long 'door-window' walls would work for adjustments necessary. The last wall (wall with stone extension) would have scale 8x8's and 6x6's. This would allow me to adjust the roof slope so the chute wall (opposing wall) would have no gap where the roof plate sites and would allow me to adjust for the height issues with the two adjoining walls.

Finally, to help hide this whole mess I decided that I can use slightly wider wood when construction the roof fascia.

(315) Grain the 6x6 and 8x8 strip wood stock with a file card or wire brush.
(316) Green pad sand the grained strip wood.
I do two passes with the green pad and sand all faces of the strip wood with medium pressure. I hold the strip wood on a flat surface while sanding the wood to allow as much exposure of the wood surface as possible for sanding. I then flip the wood 180 degrees and sand again, this time sanding the ends which were previously unsanded due to the holding of the wood strips for the sanding process.
(317) Use a #10 scrumbler or filbert brush to apply a Silverwood wash. Allow to dry. (Scrumbler brush used was a Artist's Loft Level 2: Artist brush. http://www.michaels.com/artists-loft-marseille-fitch-scrumbler-brush/M10195920.html )
(318) Green pad sand all faces of the strip wood stock.
(319) Apply two Silverwood washes allowing the wash to dry between applications.
(320) Use a wire brush or file card to add more grain to the wood stock.
(321) Green pad sand the wood stock.
(322) Draw the wood stock through a paper towel or rage soaked with a light A-I wash. Allow to dry.
(323) Stain with the trim color in a wash. I used a 1:1 water:paint mix. As I wanted this wood to appear as it had not been as well kept, but somewhat protected from the weathering elements, I used a Americana 'Whitewash' #DA02 and Vallejo 'Offwhite' #70820 in about a 2:1, Americana:Vallejo.
(324) Glue the colored strip wood stock into place around the top wall edge, keeping the wood face flush with the stone wall face. I used a combo of 6x6 and 8x8 on the one wall as noted earlier to adjust for height issues.
(325) Spackle any hole/gaps between the wall top and strip wood. Force the spackle from the inside out, keeping a stiff flat surface (ie: triangle, ruler or strip wood) against the front-side (outside) surface so the spackle edge is flush with the wood face. Allow the spackle to dry.
(326) Color the spackle with Silverwood to represent mortar. Use a liner brush to apply the Silverwood.

Colored wood edging applied to the walls. Spackle has been used to fill gaps and Silverwood to color the spackle to represent mortar.






ROOF:
(327) Cut a mat board roof (aka: roof plate) to fit allowing room for the eve to overhang the walls. I used .054 inch thick mat board. (16 ply Strathmore is the same thickness.) I allowed 4mm per wall edge overhang. This large overhang can be reduced by removing material from only two sides if it later determined necessary.







Next up is the water wheel housing and additional roof structures. Till next week, as always, comments on the good, bad and ugly are always welcome.


-- KP --
Life is to short to build all of the models I want to.

Edited by - hon3_rr on 07/12/2015 4:21:08 PM

Country: USA | Posts: 6957 Go to Top of Page

George D
Moderator

Premium Member


Posted - 07/10/2015 :  4:28:53 PM  Show Profile  Reply with Quote
Coming along nicely, Kris. What do you think of acetone vs alcohol with the Pan Pastels?

George



Country: USA | Posts: 13683 Go to Top of Page

TRAINS1941
Engineer

Premium Member


Posted - 07/10/2015 :  9:43:21 PM  Show Profile  Reply with Quote
Great coloring.

Like George asked how was the comparison between the acetone & alcohol??


Jerry

"And in the end, it's not the years in your life that count. It's the life in your years." A. Lincoln

Country: USA | Posts: 9209 Go to Top of Page

quartergauger48
Fireman

Premium Member


Posted - 07/10/2015 :  11:28:53 PM  Show Profile  Reply with Quote
You are getting close to the finish line KP. Nice to see it coming all together'.. I'll keep following along..



Ted

Country: USA | Posts: 4286 Go to Top of Page

hon3_rr
Fireman

Premium Member


Posted - 07/11/2015 :  12:04:55 PM  Show Profile  Reply with Quote
Thanks Guys for the comments. I'd say we're only about at the 55% mark in the build, so there is still a ways to go. This will have to be a diorama to some degree due to the need to have a mountain side to support the water flume and a creek for the flume to cross. There are also a few tracks and I'll be doing a short low trestle to support a track siding down the side of one wall. The big experiment with the flume will be the water in the flume and a little waterfall from the flume to the creek below. I'm also having a mental argument as to if I want to do the second structure which was similar, but smaller, than the mill which sat right next to the mill as shown in the prototype photos. I can carve and color a wall in about 15-20 minutes now, so the issue is more diorama size/space than time.

George and Jerry;
Please remember that the following comments are limited to a wood base medium, not the balsa foam. For myself and how I model, the use of Acetone to set the Pan Pastel makes the pastel behave more like a weathering powder than a regular pastel. For myself, Pan Pastels have a bit of weathering powder properties even when ETOH is used but the Acetone accentuates the weathering powder properties.

To be more specific, the Pan Pastels are not as forgiving as regular pastel sticks which have been scraped/ground or pastel pencils. This may be due to the very fine and uniform grind of the pastel. I'm not sure if the binder contains an adhesive as weathering pastels do. I'm unable to erase the Pan Pastel with additional flooding of the solvent and/or a bit of light rubbing with a rag, stick, or brush wicking to remove the excess solvent and some pastel. When trying to achieve the 'fade' effect this makes the Pan Pastel much more difficult to control. The amount and placement of the pastel is critical to achieve the fade, and it is nearly impossible to control where the fade starts and how quickly the fade becomes transparent when compared to using regular pastels and ETOH.

So in a nutshell, the combination of Pan Pastels and Acetone make the fade effect extremely difficult to control, at least for my style of modeling.

Acetone also has an effect on the underlying pre-coloring done with Silverwood. The wood changes color hues, taking on a very muddy black-brown hue and seems to lose the 'silver' coloring. Clear ETOH does not create this effect in my experience. I have experienced this in the past, but quite frankly, forgot about the reaction of the Acetone and Silverwood. Thus, when doing the fade it is not possible to obtain the dry-weathered wood. The coloring of Acetone and Silverwood is more like the the color tones obtained when using Weather-It, but with a brown component.

Overall, I'd say that Acetone makes the Pan Pastel become more infused into the wood, but with a loss of the coloring control, making the volume of Pastel used critical in the application. This property of dying the wood to the color of the pastel could be very useful in some applications, such as coloring rolling stock, where a lot of handling of the model is expected as the Pan Pastel is strongly 'set' where a fixative may be useful with ETOH.


-- KP --
Life is to short to build all of the models I want to.

Edited by - hon3_rr on 07/12/2015 04:54:49 AM

Country: USA | Posts: 6957 Go to Top of Page

hon3_rr
Fireman

Premium Member


Posted - 07/12/2015 :  04:33:20 AM  Show Profile  Reply with Quote
Thought that I'd take a photo with the two walls in the same shot. Below are the two walls, one sitting on top of the other. At first glance it may appear to be two different photo's, but it is actually the matte board and foam creating the illusion. Look at the left edge of the matte board, on which the top wall is sitting, if you have any questions. I wanted to show both walls in the same photo shot so that the lighting, etc. was identical. This will allow one to really see the subtle differences.

What we have is the Pan Pastels set with ETOH on the top wall. The bottom wall is the Pan Pastels set with Acetone. Both walls had the same basic underlying Silverwood coloring and graining. Both walls had the base of the boards treated about the same. What you can see is that the opaque to translucent fade in the ETOH wall is more pronounced then the opaque to semi-translucent fade of the lower Acetone wall. Also notice the knotholes in both walls, which were treated/colored exactly the same. Note how the coloring of the knotholes in the ETOH wall is visible. The coloring of the knotholes is almost totally lost in the Acetone application.

Finally notice the 'splotchy' appearance of the Pan Pastel on the ETOH wall. Compare this to the 'smoother' and uniform appearance of the Pan Pastel on the Acetone wall.

The differences in the final viewing is very subtle, but it may be worth noticing if one is trying to create a specific finish. It's some of these subtle type of finish differences with which you can date or suggest usage and care of the object (in this case a structure in a harsh environment) being modeled.



-- KP --
Life is to short to build all of the models I want to.

Country: USA | Posts: 6957 Go to Top of Page

Pennman
Fireman

Premium Member


Posted - 07/12/2015 :  10:35:34 AM  Show Profile  Reply with Quote
I would like to comment on your build of this excellent model. Every part of your tutorial will be worth going back to review. Especially the explanation of the use of pan pastels. I found out that they are in fact a different medium than pastel chalks. I need to also try to use them for various color applications.
Your combination of balsa stone walls with the distressed wood is superb. That is something I wish to experiment with more. In all, I will be looking forward to see your final post.
Thank you for the lessons. You are an excellent teacher.
Rich



Country: USA | Posts: 2477 Go to Top of Page

hon3_rr
Fireman

Premium Member


Posted - 07/19/2015 :  8:23:06 PM  Show Profile  Reply with Quote
Rich, Thank you very much for the compliments. I'm really hoping, even crossing my fingers, that some folks are getting something out of this ride. It's comments like yours which keep me going.

NOTE: I'm going to try a new format for the heading and numbering of the construction sequence. Please let me know if this does not work for you. What is lost is the total sequential numbering, but it makes construction of the sub-assemblies easier to follow.

Well, let's get down to business.

Water Wheel House:
As some may remember from the photos of the mill on page 1 of this thread, the mill at one time had a waterwheel for power. This was a overshot to power the wheel, meaning that the water was delivered to the top of the waterwheel, versus a undershot where the water flows under the wheel to provide power.

The water entered the mill via a flume which carried the water over the roof to enter the mill. I thought that this would be a interesting visual, so I decided to include it in my build.

Cut a foam block to size... Naww...

When I started this project, I had planned on using a block of foam for the waterwheel house. After looking at the number of windows I decided that it was necessary to have that 'see thru' effect since the windows are directly opposite on the two long walls.

If using a foam block it would be necessary to carve window size holes thru the foam block. I don't feel that my skill set with the foam is quite there yet. Thus, I decided to use the traditional material of matboard to construct the waterwheel house. This will be a pretty simple component of the build as the outside walls are covered with asphalt or rolled roofing paper for the siding.

Prep and paint the window castings:
Materials:
A) Grandt Line Attic Windows, Part#5112, (10 windows)
2) Krylon Flat White - Spray Can

1) Leaving the castings on the sprue, remove flash if needed. Sprue nubs remaining after removing the casting from the sprue will be cleaned up in later steps.
2) Clean the castings. I just soaked my casting in clear ETOH for three days.
3) When the castings are totally clean and dry, paint the castings. I hold the sprue containing the castings with hemostats or cross-locking tweezers when I paint. I paint the back side of the castings, then spray the edges and finally the front.
4) Put the window castings aside to dry in a dust free location.

Waterwheel house walls:
Materials:
A) Mat-board: Cresent Mfg.# 948. Two sides colored; beige/white.

I'm probably going to go into overkill on this layout stuff, but it took me three attempts to (six walls) to get it right. Just trying to make sure the obvious does not get skipped like i did.

1) Determine the roof angle. This is necessary so the waterwheel housing side walls are cut to match the roof angle.
2) Mark and cut the matboard to size for the two side walls. Make sure the floor/base and top of the walls match the roof angle. Use the first wall as a pattern for the cutting the second wall.
3) Verify the roof angle matches the base of the waterwheel housing side walls.
4) Holding the two walls back-to-back to align correctly, mark the walls so that the correct top and sides are facing out (or in).





5) Determine the base/window sill height of the window openings. Mark this distance on the wall sides. I used draftsman dividers to obtain and transfer the measurement from the plans to the matboard walls. I noted this line as "BL" in the photo.


6) Determine height of window opening on wall sides using the casting. I again used dividers to transfer the measurement to the matboard.
7) Determine the distance from the wall ends to the window side openings. Mark this distance on the matboard.
8) Determine the required window opening width and mark on the matboard.
9) Holding the wall on a horizontal surface, mark all horizontal lines to complete the window opening layout. Remember, you can not cut the window openings parallel or on the BL line as this would result in your windows having an angled sill and header. Your sill layout and openings will be at an angle to the BL line.



10) Cut out the window openings in the wall. Square the openings as needed with files or sanding tools. I used a corner punch to create my window openings. The punch is a pricy tool, but extremely effective when creating door and window openings. http://www.micromark.com/3and16-inch-corner-punch,8013.html
11) Use the first wall as a layout pattern for the windows on the second wall. This will maximize the 'see thru' effect of the waterwheel house.
12) Cut out the windows in the second wall using the same process as used on the first wall. Verify that the window opposing openings are correct for the two opposing walls. Square the window openings as needed.
13) Verify that the window castings fit the window openings correctly. Adjust as needed.
14) Verify that the vertical window openings are at the same angle as the wall ends. Adjust the wall ends if needed.
15) Determine the end wall width. Mark the width dimension on the matboard stock.
16) Determine the side wall height and transfer the dimension to the matboard stock. This should give the layout to create the two end walls.
17) Cut the end walls from the matboard stock. Square the edges of the end walls.
18) Verify end wall height match the height of the side walls.
19) Determine window opening (bottom or window sill) height on end wall. Mark the dimension on one of the end walls.
20) Complete the layout for the window openings in the end wall using the window casting to obtain the correct opening size.
21) Cut out the window openings and square as needed. I again used my corner punch.
22) Verify that the window casting fits the window openings. Adjust as needed.
23) Determine the flume opening on the second end wall.
24) Cut out the flume opening. I used a #18 blade as a punch (eye protection required) for the horizontal cuts. I then completed the opening using a #11 blade for the vertical cuts. Square as required.



What this exercise entailed was the layout to obtain horizontal walls in a angled wall. It also provided a 3-D visual on the size of the flume.

Next up is the addition of siding and wall construction. Also, please feel free to comment on the construction sequence numbering format and if it works for you.

Thanks for dropping by.


-- KP --
Life is to short to build all of the models I want to.

Country: USA | Posts: 6957 Go to Top of Page

TRAINS1941
Engineer

Premium Member


Posted - 07/19/2015 :  11:43:19 PM  Show Profile  Reply with Quote
Looks like your off to a good start Kris.

Yes I like the new format better. It will be easier to just go back to the heading of one section to see how it was done.


Jerry

"And in the end, it's not the years in your life that count. It's the life in your years." A. Lincoln

Country: USA | Posts: 9209 Go to Top of Page

Jeff G
Engine Wiper



Posted - 07/20/2015 :  05:50:39 AM  Show Profile  Reply with Quote
Beyond the superb modeling, I have to say bravo for the in-depth explanations of your techniques. They're very much appreciated.

Cheers.



Country: USA | Posts: 294 Go to Top of Page

quartergauger48
Fireman

Premium Member


Posted - 07/27/2015 :  10:47:16 PM  Show Profile  Reply with Quote
OK Kris, I'm standing by'....



Ted

Country: USA | Posts: 4286 Go to Top of Page

hon3_rr
Fireman

Premium Member


Posted - 07/29/2015 :  3:44:36 PM  Show Profile  Reply with Quote
OK... Let me be honest here... I've been in a self-induced modeling funk here. Not the usual 'down' time due to summer, but a self-induced funk due to modeling screw-ups.

First, I can't seem to touch the waterwheel house without making some sort of 29-cent stupid error. Be it cutting the patterns backwards, upside down or getting the cut angles backwards, no matter what I do this little item has been the bane of my modeling experience so far. And to top it off, I just am not executing any process well, even for a 'sandbox' build. I also discovered much to my horror that I may need to build a waterwheel due to the large window area presented by the volume of windows on the wheelhouse. I really, really did not plan on building a waterwheel, or even part of one..

OK... so much for excuses.
So I did construct the wheelhouse, which I'll detail below. I keep making excuses that the 'beast' is just part of a sandbox build, and therefore just plowed on even though I was not happy with how it was coming together. I finally made a 2-cent fatal error in applying the battens which I could not recover from, so I ended up redoing the entire wheelhouse.

I'll outline the first wheelhouse from my notes as the build. After applying the bats, I outline the re-do and changes to the second wheelhouse.

The major differences in the builds is the tarpaper siding. I'm very happy with the Rusty Stumps product, but my execution of applying corner trim and the bats just did not cut the mustard. The re-do has nothing to do with my choice of products. I chose the tissue+paint method in the re-do simply because this is a 'sandbox' build and I had the opportunity to practice a technique. If the application of tissue+paint failed, I can always cover up the error with the Rusty Stumps product.

Finally, don't judge the Rusty Stumps product based on my pictures. I did not get to the point where I had colored/weathered the product. Excellent suggestions for coloring/weathering are included with the product for those who use it.

Applying siding to the waterwheel house walls:
Materials:
A) Rusty Stumps Scale Models Simulated Tarpaper Roofing #D5030 http://rustystumps.com/default.asp
B) 3-M Photo Mount Spray Adhesive

1) Cut three strips of the tarpaper roofing from sheet stock.


2) Apply photo mount spray to wall exteriors (** Well Ventilated Area**) and attach tarpaper strips to the walls.

Tip:
During the following steps keep tarpaper clean with multiple bushings with a soft brush.

3) Trim excess tarpaper stock from walls using a new #11 or single edge razor blade.
4) Remove excess tarpaper covering window openings using #11 blade.
5) Verify that the window castings fit correctly in the window openings. Adjust if needed.


Brace the walls:
Materials:
A) 10x10 inch stripwood - (3) 12-inch lengths

The wheelhouse is braced to provide additional gluing surfaces and prevent the matboard from warping/bowing.

1) Cut stock to fit ends of both side walls. When cutting, cut so that the stripwood stock piece is approximately 1/8th of an inch shorter than the wall height.
2) Glue the cut stock to the ends of the walls, flush with the outside edges.



3) Cut (4) lengths of 10x10 to fit wall lengths. The 10x10 long lengths will fit between the end bracing pieces. Cut the lengths so that they are again just a bit short for ease of handling and installing due to the angles of the bracing installed on the ends.
4) Place walls with bracing on flat surface under weight(s) and allow the glue time to dry.


5) Using 10x10 stock, mark the end wall vertical edges.
6) Cut (4) pieces of 10x10 stock to fit horizontally between the vertical bracing marks.
7) Glue the 10x10 stock into place to brace the end walls. Make sure the bracing clears both the bracing on the long walls and the flume opening prior to gluing the bracing into position. If necessary, adjust stripwood bracing size or omit top bracing piece.



Construct the waterwheel house:
Materials:
A) Delta Ceramcoat Charcoal Acrylic Paint

1) Paint the interior and bracing on the walls with a black hue paint. I used Ceramcoat Charcoal and a 1/4" soft flat to apply the paint. Apply two coatings of paint, allowing time to dry between coats. The two coats gives the interior a uniform consistent color. This constant coloring will assist in subtle ways when reflecting light to the viewers eye. It is important in this instance due to the large area of windows.


2) Glue the four wall pieces together, one short to one long wall, forming two 'L's. Make sure the 90 degree corner is accurate. Allow glue time to dry.
3) Glue the two 'L's together forming the waterwheel house.




Add battens and corner trim:
Materials:
A) Kappler 2x8 stripwood #KP1124 (4x)
B) Kappler 2x2 stripwood #KP1118 (6x)
C) Prismacolor Marker PM-62 Sepia
D) Prismacolor Marker PM-159 French Grey 50%
E) Prismacolor Marker PM-111 Cool Grey 40%

1) Color the stock 2x2 on all sides using the Prismacolor markers. I used the sepia first, then the French Grey. Use the fine tip end to apply the grey.
2) Grain and GP sand the 2x8 stock.
3) Use broad tip end of cool grey to apply to 2x8.
My thought that the 2x8's were to dark so I regrained with a file card and a light GP sanding.
4) Run all wood stock thru a rag with Silverwood. It's easier to do the 2x2's by puling the wood between a finger holding the wood on a rag placed on a hard surface.
5) Using 2x8, add corner trim. Add two 2x8's on corner face with matboard edge showing making sure corner boards are flush with end and side wall faces.
6) Trim the top edges of corner boards with a flush nipper to obtain roof angle and to keep flush with wall top edge.
7) Trim the 2x8 as needed to obtain 90 degree corner.
8) Touch-up with Prismacolor markers as needed.




Using a single window casting which is moved from window opening to opening as needed, add the battens. I used one foot O-scale as the approximate distance between my battens.
9) Start at each end of the walls, working towards the middle to apply the battens. Split the difference on the final batten applied.
10) Cut the battens from the stock just a bit longer then needed to allow the use of tweezers when applying glue to the batten and placing the batten in place.
11) Use a triangle or square to make sure that the battens are vertical.
12) Place a single batten over window openings. Once the batten is tacked down, trim the excess batten stock from the window opening. By placing the window casting in place, you can determine how much batten to remove from the wall prior to the batten glue drying completely. Use flush nippers to remove the batten stock needed to allow the window casting to clear the batten and sit flush with the wall.

This is where I screwed-up on the waterwheel house to require a re-do. I used a flat horizontal surface when applying the battens. This introduced a slant to the battens when the house was placed on the sloped roof.

The saga will continue tomorrow, so stay tuned....


-- KP --
Life is to short to build all of the models I want to.

Country: USA | Posts: 6957 Go to Top of Page

hon3_rr
Fireman

Premium Member


Posted - 08/02/2015 :  12:34:47 PM  Show Profile  Reply with Quote
Well, I'm a bit behind in getting something posted. I lost access to the PC for a couple of days with all of my pictures in it, thus the delay. But I want to thank all of those folks who visited and took this thread well over the 10K view mark.

OK.. so this entry is a re-do of the waterwheel house walls. I needed to start out my noting that I did experience some bowing of the long walls using the 8x8 stripwood material for bracing. A bit heavier stock, like 1/4" or even 10x10 may have prevented the bowing. I did not experience any bowing with the first house walls, so that bit of extra material may have been the difference in bowing or no-bow.
I think that if I had it to do again, I'd use 1/4" sq on the top with 10x10 stock on the bottom to clear the window openings.

Apply tissue paper siding:
Materials:
A) Kleenex tissue
B) Delta Ceramcoat Quaker Grey #02057
C) A-West Weather-It

1) Peel the tissue paper plys apart. My tissue had three plys. You only want a single ply of tissue.
2) Using scissors, cut the single ply of tissue into smaller pieces a bit larger than the walls.
3) Apply tissue paper to the exterior walls using the grey paint to attach the tissue to the walls. Use a large, very soft brush or sponge brush to paint the tissue onto the walls. Work from the center of the wall out, trying to keep the tissue as flat as possible. (I'd love to know Walt's secret in keeping the tissue flat over large surfaces. I have yet to find a way to keep any super-thin material like single ply tissue or phone book paper from 'wrinkling' here and there.)
4) Allow at least 24 hours for the paint to dry, longer if possible. You want the paint to cure, not just dry prior to proceeding to the next steps.
5) Using scissors and a razor blade, remove excess tissue from the wall edges. Cut as close as possible to the wall edge without pulling the paper away from the wall face.
6) Use a light touch and sand the wall edges to remove the excess tissue. I found that a medium grit paper seems to work the best.
7) Using a new #11 blade, cut the excess tissue from the window openings. If you will poke a hole in the corner, and then keeping the top of the blade in the corner, push the blade thru the window. The blade will cut the excess tissue as it is inserted into the window opening. Trying to place the wall on a flat surface, face down, and then trying to cut the excess tissue from the opening will result in very ragged cuts and possibly pull the tissue from the wall face.
8) Use a emery board (nail file) to sand the window openings to remove any excess tissue remains. If needed, cut the emery board to fit the window opening prior to sanding.

A note about Weather-It vs. Silverwood. For myself, Weather-It has a much stronger 'soot' look when dry when compared with Silverwood. Silverwood to my eye has a dry, water-weathered look which is smooth. I tend to use Weather-It in applications where a 'dirty' look is desired, like around a chimney or heavy industrial area. I use Silverwood for general weathering where lots of soot and grime would normally not be found. A-I falls between the two, but one can use a hair dryer to achieve a water-spotting effect, which may be useful in weathering. I have to use dilutions of Weather-It to obtain a variance in coloring or obtain a water-spotting color variation.

9) Color the tarpaper with diluted Weather-It. I used a wash (approx. 2-1, Weather-It:water) applied with a 1/4" soft flat brush. Use the side of the brush and a stippling technique, keeping the wall flat. When you feel that you have applied enough wash, stand the wall vertical on a paper towel. Allow the paper towel to wick away any excess wash.
10) Put the walls aside to dry, standing them vertically.


Apply Battens:
Materials:
A) Kappler 2x2 stripwood, 12" length #KP1118 (5)
B) Prismacolor Marker PM-159 French Grey 50%

I again used 1 O-scale foot for spacing between the battens. Measurements were made from the ends working to the middle of the walls, splitting the difference with the last (middle) batten.

1) Mark the siding for the batten placement. Make sure the battens are parallel with the window side openings.
2) Color the battens (2x2 stripwood) with Prismacolor French Grey. Use the broad tip end and color all sides of the wood a couple of passes with the marker. I found that the earlier colored battens with the additional colors were just a bit too dark in color. I used the darker color to avoid the zebra look on the dark siding. Same thought process here, but against a lighter color background.
3) Glue battens in place. Cut individual bats a bit longer then the wall height to allow you to use tweezers when applying glue to the bat and assisting with bat placement.
4) Glue full bat lengths over the window openings to assist in keeping the battens in line. Allow the glue to dry prior to cutting bats from window edges and openings. Note where the window casting edges are on the battens and remove the bat section as required to allow the window casting to fit flush on the wall face. If a bat breaks free during the trim process, toss it. With the window casting in place, cut a small piece of 2x2 to fit with the excess extending from the wall edge. Allow the glue to dry.
5) Place the wall face down on a cutting pad. Using a large chisel blade (#17) push the blade through the 2x2's along the wall edge to chop off the excess bat stock flush with the wall edge.
6) Place the wall on a flat surface sitting on a paper towel. Flood the wall face and battens with full strength Weather-It. Tilt the wall vertical to allow the excess Weather-It to run-off onto the paper towel and to wick away excess Weather-It solution from the base of the wall.
7) Place the wall aside to dry. Make sure the wall is standing in a vertical position while drying.

Weathering Tip:
To add a bit more texture to the tarpaper, pace the damp wall under a hot hair dryer with the low fan speed. Hold the dryer about one-two inches from the wall. Heat the wall until the wall feels very warm to the touch or you fear that the glue holding the battens will melt. This will add additional texture, not coloring, to the wall, including a couple of 'bubbles' under the tissue which represent areas where the tarpaper has pulled loose from the wall. The heat also adds a bit of texture to the tissue fibers embedded in the paint, raising the texture just a bit. The texture is subtle, thus I'm unable to show it in photos. It is worth your time to experiment with to see how the technique works for you. I used this technique with my walls.




Next up, another 'box' to sit on the roof and we'll see if I can x-brace to remove the bow in the long walls. Once the windows are in, the decision will be made as to if a waterwheel is needed. Till then, thanks for stopping by. As always, comments to the good, bad and ugly are welcome.


-- KP --
Life is to short to build all of the models I want to.

Edited by - hon3_rr on 08/02/2015 12:40:28 PM

Country: USA | Posts: 6957 Go to Top of Page

Ensign
Fireman

Posted - 08/02/2015 :  1:33:35 PM  Show Profile  Reply with Quote
Kris, with each new well explained step you take, your New York Mill is really shaping up into a very beautiful showpiece!
Thanks for taking the time to document this build so well!
And please keep up the fantastic job that your doing so well!

Greg Shinnie



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TRAINS1941
Engineer

Premium Member


Posted - 08/02/2015 :  10:43:21 PM  Show Profile  Reply with Quote
Nice job Kris. I really like the method of apply the tissue paper.

Like Greg said this is really becoming a beautiful showpiece!


Jerry

"And in the end, it's not the years in your life that count. It's the life in your years." A. Lincoln

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