Well the layout made it to and from Scaleforum – possibly I did too!
Last Friday, the inside of the hire van looked like this. Whilst the cases worked a treat, the dismantling of the layout from being set up on my own took a long time – much longer than I had hoped or expected.
Once at the venue, I was able to press gang some “volunteers” to erect the layout and this was much easier.
Getting the beams levelled up was speedy even though none of my press team had any experience of my logic! Indeed, with their help, it assembled itself quicker than Portchullin does although the jury is out in my mind as to whether this is simply because it as yet has rather less on it!
The layout’s size quite quickly became apparent; especially its depth – as can be seen here with Chris in the background for a sense of sale! Please don’t tell my wife this is actually quite big, I have been telling her it is pretty normally sized!
I did not manage to get front side all that often so I have only fairly limited numbers of photographs. Fortunately Samuel Bennett has come to my rescue and has provided a number of photographs to show what it looked like to the visitor.
We only had three correct Highland locos chipped up (and one of these decided to sulk after a couple of hours!) so we did break out the blue diesels to make sure we had a fully operational layout. Above there are a few of the locos awaiting chipping on shed and below we have the scene 50 years later!
……..and below is simply confused!
Although the layout did not operate perfectly, it did behave much better than I (and my operating team) had feared! The two page list of faults and issues to resolve with the trackwork, wiring or stock is a fraction of the list that would have existed after Portchullin’s first outing (if I ever had one!).
The signals received a lot of comment, even if there was one missing because I managed to damage it as I was packing the layout. There’ll be another post on these soon.
The advantage of a railway company using standard building designs is that you can get to use them more than once. Thus Portchullin’s goods shed will be getting to have a new lease of life on Glenmutchkin.
I think my goods shed is the oldest model that I still have and over the years it is fair to say has suffered. Some of this is simply the thirty six shows that it has done with Portchullin (hell………thirty six shows…….!) and almost as many years, as I was about 17 when I made it. However the main issue was the manner in which I built it, with minimal bracing over the top of the entrances. This has lead to it breaking its back and despite several attempts at repair, these have never been long lasting. So it is time to do it properly to allow its reincarnation on Glenmutchkin.
The key to the repair was to introduce a metal skeleton frame inside the model to strengthen it – particularly across the rail doors. This is something I now tend to do at the outset with any largish building I build to contain warping. The frame is invisible from the exterior – the view above shows the frame that I made with the first side attached.
The frame was made with some 3mm square and oblong section brass, with gusset plates – there was a fair amount of metal so it got close to blacksmithing at one stage.
Once the frame was inserted, the model was given an overhaul to repair the other dinks and marks that it has acquired over the years. There were a fair few, as can be seen.
I also to the opportunity to install gutters and downpipes; something I had been meaning to do since I was 17………a bit of a shameful shortfall, given I am a chartered building surveyor!
I am pleased with the results and the model is now much more robust so it should do at least another 36 shows! Whether its owner can will be kept under review!
My goods shed is based on the Orbach drawings of the shed at Garve (the August 1952 edition of the Model Railway News). The prototype was swept away in the 1970s and whilst there are a pair of the smaller sheds still remaining (notably at Brora), there are no longer any of the standard Highland Goods sheds left. The last to go was in Golspie about two years ago and I did manage to both photograph and measure it before it went. Here are some views of it before it was demolished:
Well, it is twitching quite a lot anyway……………..
A significant day in the life of Glenmutchkin over this weekend, as I have got a significant proportion of the trackwork which has been laid operational. Admittedly I have an electrical issue in the branch bay (something is wired backwards!), the fiddle yard has not yet been linked to the layout and the single slip still has not be corrected but it works…………..
This is my Loghgorm Bogie (Clyde Bogie series) built by John James. The body is not quite sitting right on it, which is why there is a bit of bouncing; which is a bit worse when it runs faster as below.
Lots to do, but we are getting there! There will be a working layout for Scaleforum!
One of the worst parts of Portchullin is the lack of thought I gave to transporting the layout about. One of its attractions is the curve which makes it unusual but this makes the boards big, cumbersome and above all awkwardly shaped to transport. It also made them difficult to create packing solutions for and the limited solutions that I adopted have never been good enough which has plagued the layout throughout its life.
It was a mistake I am anxious not to repeat with Glenmutchkin and now that it is beginning to accumulate some finished elements, it is definitely time to deal with this and create some cases to enclose the boards when they are either stored or transported. My requirements for these were that they provide rugged protection to allow the layout to be transported without risk of being damaged. I also wanted them to be easier to move, in particular on my own, and to pack away themselves without taking up significant amounts of space.
There are (presently, there are plans……) six scenic boards and the crate for the first two – for the smallest boards – is now complete. The concept I came up with is to use end pieces that secure the two boards on top of each other, face to face. To this, I have added larger panels to close in the sides and prevent these exposed parts from damage. To try and speed up assembly and also reduce the space that they need, each end is hinged to and end piece but conceived such that they fold onto each other so that they pack into the minimum possible space.
One of the other features I included was nicked from the St Merryn team was to introduce packing pieces to make sure that the ends stand clear of the rail ends. A simple feature that I had not seen described before.
To make the combined case and boards easier to transport I have introduced some trolley wheels – the operating crew are pretty excited with this and can hardly believe how much they are going to be spoilt! The other little trick I am please to have employed is to introduce slight feet to enable fingers to get below the box to lift it.
I have concluded that only the two smallest boards can be paired up in this manner as they are already quite heavy and will get more so as I add the remainder of the features to their topsides. Thus the remaining board cases will be slightly different.
Progress with the Pharmacy building has continued and the roof is now nearing completion. I preferred using sheet metal (in this case nickle silver) for roofs as I find it is the easiest was to then include gutters. In this case, I designed the roof as a simple fold up etch and subsequently the gutters were formed by half round section from Eileen’s Emporium.
One of the pieces of artistic licence I went for relative to the real Kyle Pharmacy was to elongate the building slightly. This was partly because the prototype was a bit square and squat but also because I fancied including a decorative ridge piece. The Victorians and Edwardians did love a bit of decoration and this included the details to their buildings. There were numerous contemporary catalogues of architectural bits and pieces from which to choose from and I liked the idea of something pretty – especially given that this model will be right at the front of the layout. So I created a design of my own and etched it; along also with the characteristic sign that is so prominent in the photo in my last post.
Those that looked carefully at the prototype photograph in the last post will have noted that the roof slates were diamond shaped. These were, in fact, asbestos slates and were quite a common material for pre-fabricated and simple buildings such as the Kyle Pharmacy. Clearly they needed to be modelled but I did no fancy my chances of cutting the odd couple of thousand slates consistently. I toyed with getting some laser cut or cut on a silhouette machine but then had a brainwave – pinking shears.
For reasons I don’t quite know, dressmakers use these to create zigzag cuts and even better, my wife had a set. However, she spotted me taking a look at them which meant I had a very firm talking too and was immediately banned from using them!! Researching them on the internet showed that they come in a variety of pitches but be warned not all of them have 90º serrations. I did find a set with a 4mm pitch which was a bit less than the 5mm that I thought was scale for the Kyle Pharmacy but as this equates to a 12 inch slate, I thought it was plausible and not a bodge too far. As you can see below, they produce a neat and consistent serration.
I cut the slates from plain paper in strips which I then sprayed a mid-grey colour because I felt that asbestos tiles might be a bit lighter than normal welsh slates. I deliberately allowed a tiny bit of inconsistency of colour to creep in, to provide a little texture to the roof. However, painting them was not easy as the air of the airbrush sent them flying – so I had to create a cradle to mount them in for spraying.
Once painted, I secured them with spraymount and carefully set them out, with the point of the diamond to the row above meeting the apex of the one below.
It takes some time (around 2 hours for a fairly small roof!) but I think the effect is quite convincing. I find the the best effect to make it look natural is to lay the slates as consistently as possible – you don’t achieve perfect consistency and these small imperfections end up making it that little bit more. Deliberately introducing inconsistencies tends to look a little contrived; including in this case my slightly differing shades, however, this was expected and can be overcome.
The blend the colours together, I washed the slates with artist’s acrylic always ensuring that the brush stroke was down the roof to mimic the flow of the weather.
I also formed the ridge and hip flashings with cigarette paper which I had first sprayed with grey primer and then secured with more spraymount. This was laid over 0.6mm brass rod to give the central lead roll effect – this was secured in place with superglue. I initially tried to make the lead flashings in sections so that the correct laps between one piece and the other was achieved but I never got close to a neat or believable finish. Thus I ended up doing this in one piece per run.
The front signboard will need some more work yet (partly because I have damaged it!), which will feature in a future post as I am going to have a bash at producing transfers.
Back in one of my very first posts I explained the origins of the layout’s name; which has a lot more to it than might first appear (for any of you that have missed this post, follow the link back to discover the world of Glenmutchkin that Professor Aytoun created.
I had been aware that others had discovered the name and, like me, piggy backed a good story for our own purposes – there is even an entry in “Railscot” for the line. What I had not realised was that this seems to have been going on for more than 100 years!
This changed when I had an email out of the blue from a charity seeking to discover a bit more about the story and had come across this blog. Their email was prompted by a donation they had received of the medal below, which they were trying to find the story behind.
We have been able to find out very little about the medal beyond the hallmarking (Birmingham Assay Office in 1898) and that it was made by Shipton & Co (who are – as you will see if you follow the link – still trading. Our supposition is that, 50 years after the publication of the story, it was still known of and a group – perhaps a university society or similar – used the story to mark some sort of event or other action of one of their members by striking this medal. Given that Professor Aytoun’s story is centred on skullduggery and tall tale telling it is intriging to wonder what it might have marked!
So if anyone does know more about it, do please let me know and I will update the blog if any more information comes to hand.
Well, that’s true of the top side, where nothing visible has happened of late but there is progress when you look underneath.
I have spent more than a few hours soldering dropper wires on about half of the track that has so far been laid. All is neatly colour coded (hopefully).
Another development in comparison to Portchullin is the painting of the entirity of the underside of the layout white. This is to make everything clearer and will, hopefully, make it easier to deal with issues with the layout set up – although I am hopeing for less issues!
Even more hours (weekends even!) have been spent making up jumper connections, so hopefully the wiring will speed up in the coming weekends! I have spent this time to work through the logic of the wiring across all boards and there is a full wiring schedule in place – none of the wonky logic on Portchullin this time!
I have been back onto the layout of late, with a view to get the first wheel turning on it before too long. That means attacking the electrickery things, beginning with the control panel.
I made a start on this by drawing up a diagrammatic representation in MS Paint and then using this to get one of the online firms (Vistaprint) to print me up a poster board to form the basis of the control panel. I am not sure I chose the right material as it turned up on a light weight foam board and I had to mount a sheet of aluminium behind for it to be stiff enough to be useable. But it did look pretty smart I thought………….
The control panel deals with all of the signals and turnouts that the cabin will have controlled, with local ground frames (which will be located on the boards locally) to be used to control the goods yard and the MPD. The latter will be arranged such that it can be located either to the front or the rear, to allow some flexibility in operation.
I have got to the point where the full extent of switches have been wired in and I am just completing the jumper leads. I took a lot of care to plan the wiring prior to any construction – despite the locos being DCC controlled, there are an awful lot of wires. This is because I have stuck with traditional control for the turnouts and signals. There is further complication as a result of the desire to incorporate some bells and even a block instruments (well maybe, at the moment it is just the wires!). So in all, there are 90 odd wires doing something or another on the layout.
Somewhat in contrast to Portchullin, I have sought to keep the wiring as tidy as possible; everything is neatly collour coded and even labelled (to be fair it was labelled on Portchullin, but in a non colourfast ink………..!). I am hoping that this will make the wiring easier to debug at the start of the matter and repair if it does get damaged.
I am proposing to use a variety of connectors between boards and to the control panel, including this rather nifty varient of the D-sub range that is wired directly onot a cheeseblock wireless connector. Available to a variety of types from ebay including from this seller.
In comparison to the coaches that I use on Portchullin, most coaches from the 1920s (my chosen period for Glenmutchkin) are shorter and in many cases, even without considering the six wheeled vehicles, a lot shorter. This was driven by the technology and in particular the materials available to the railways of the time. There were exceptions though, and my present build is dealing with one of these – an East Coast Joint Stock 12 wheeler.
In the early 1890’s, the journey north was all about speed and culminated in the Railway Races to the North where the rival east and west coast companies competed to get their services to Aberdeen first. This came to an abrupt end in July 1896 when a west coast train took curves too fast at Preston and left the rails. Although the loss of life was relatively limited (for the time), excessive speed as a result of the desire to “speed to the north” was firmly blamed. As a result, the competing companies agreed no longer to race each other and instead sought to compete on the basis of the quality of their service and the luxury of their trains.
A GNR small altlantic hauling an ECJS express at the turn of the 19th Century made up predominantly of 12 wheeled stock
One product of this competition were some really fine 12 wheel coaches built for the East Cost Joint Stock Company (which was a joint company with the GNR, NER & NB contributing to the cost for trans-company trains). Built from 1896 onwards, these were several different lengths (this particular example was 66’11″) but all were long, seeking to use length and mass to iron out any track irregularity. To support this length of coach, six wheeled bogies were used, although these were rather infant in their design and used big transverse leaf springs as bolsters. In addition to being really characteristic and obvious – so they need to be modelled – I suspect they gave a somewhat bouncy ride!
Barry Fleming’s scratchbuilt body and part completed roof
I have been given a big headstart on this build by virtue of being given a nearly complete body/roof for a luggage composite (diagram 6 for those in the know). This was scratchbuilt by the late Barry Fleming in the 1980s and is a class bit of modelling! Barry gave it to my father, along with a couple of other coaches, to complete but as he has not managed to get this particular one, he has passed it to me to have a bash!
My etchings back from PPD
One of the reasons that this model was put to the back of the queue previously was that almost none of the parts required to complete it – in particular the bogies – were available, so it was all going to be a scratchbuild. As I was pouring over the drawings and pictures in the bible on things ECJS it dawned on me that the missing parts would be best dealt with as an etch and given my developing skills in etch designing, I might was well have a go. This is the product, an underframe, some cosmetic bogie sidesand some underframe details fresh back from the etchers.
The basic underframe has fold up solebars and buffer beams. Each of these also has integral fold over layers to laminate on the cosmetic exterior. This just about worked for the solbars but definitely did not for the buffer beams which distorted due to their thinness. I will make these seperate pieces next time, but might use folding jigs.
Coaches of this era tended to have four truss rods, each with a pair of queen posts. Stealing an idea from Alistair Wright’s designs, I made the queen posts up by a long etch that has a half etch length to wrap around the wire used for the tie rod. By folding this over the wire and then laminating the two parts together, a robust and simple post can be created. As it is two layers soldered together, it has the strength to allow it to be filed to a round shape to create the appearance of the original.
Although originally gas lit, by the time I will be modelling this vehicle it was electrically lit. Whilst I probably could have bought cast batter boxes, I decided to include them in the etch and very pleased I am too – they have come out much more crisp than any of the castings I have seen and were really easy to both draw and make. The remainder of the fittings seen here were bought in castings though, typically from Comet Models (now distributed by Wizard Models).
And this is where the underframe has presently progressed to.
I will describe the building of the bogies in the next installment, they are not for the faint-hearted!
Glenmutchkin’s shed area is modelled on Kyle of Lochalsh’s (it is a mirror image) and I wanted to capture the typically cramped feel of the inspiration. This is the original OS map for the shed (ie old enough to be outside of copyright).
Key to this is the way that the whole complex centres around the turntable and the first turnout is almost tight against the turntable’s wall as this photo extract shows (notice there is not even a buffer stop on the far side of the well):
The first turnout is, you will see, a tandom and whilst it is not visible in this picture, almost certainly it was interlaced (as the Highland always seemed to always use interlaced turnouts). Well, interlacing gets quite crowded on a tandom turnout, as you can see:
It takes a long time to do all of the sleepers as there are a lot of them but once it is done, it does look rather impressive don’t you think?