Includes several track plans 9 Guides for model

GUIDE 1: Train Table Construction & Design p. 2

GUIDE 2: Track Tips & Techniques p. 5

GUIDE 3: Wiring Made Easy p. 11

GUIDE 4: Realistic Scenery Made Simple p. 15

GUIDE 5: Make Your Own Buildings p. 19

GUIDE 6: Painting & Weathering Tips p. 26

GUIDE 7: Basics of DCC Programming p. 33

GUIDE 8: Modeler’s Must-have Tools p. 38

GUIDE 9: Track PlanDesigns p. 43

6183372017A SUPPLEMENT TO MODEL RAILROADER MAGAZINE

• Tips and advice for beginnersto intermediate modelers

• Includes several track plansfor compact spaces

9 Guides for model railroadingsuccess

• Learn the basics of building benchwork• Easy to assemble with a few household tools• Technique is applicable for any size layout

Train Table Construction & Design

1G

UIDE

I built the benchwork for our Black River Junction layout using strips of 1 ⁄2" birch plywood. Ordinary 1 ⁄2" fir plywood has three or five layers of veneer, while the more costly birch plywood has seven layers, so it’s stronger. I used a table saw to cut the plywood into 31 ⁄2" x 96" strips that took the place of dimensional lum-ber. If you’re careful, one 4 x 8-foot sheet yields 13 8-foot strips, which is just enough for both tables and their legs. Smooth the edges of the cut strips with medium sandpaper to remove slivers.

Since we designed this layout for por-tability, I secured the joints with Tite-bond wood glue and 4d 11 ⁄2" finishing nails. The glue provides most of the strength; the nails secure the joints until the glue cures.

The main table consists of two long side rails and six 47" crosspieces. Once attached, the side rails produce a frame width of 48" to match the plywood top. I used a square and marked the center lines for the crosspieces across both, spaced as shown in the drawing. I clamped one crosspiece vertically in a Black & Decker Workmate to help stabi-lize the piece while my “assistant” (Da-vid Popp) held the opposite end of a side rail. I applied a bead of glue, set the side rail in place, and drove two nails to hold the joint together. I then repeated this step at the opposite end and then for the remaining inter mediate crosspieces.

David and I let the assembly dry for a half-hour or so, and then we gently turned it over so all the crosspieces were sticking up. I added the second side rail, starting at one end with David holding the opposite end in alignment. I did the first end joint as before, but I then glued and nailed the crosspieces in order, fin-ishing up with the opposite end.

The last step was to mark the cross-piece center lines on the sheet of 1 ⁄4" fir plywood that would become the table-top. We laid out the framework on the floor and used the tile pattern to make sure the corners were square.

I applied glue to the top edges of the frame, then David and I carefully set the sheet of plywood on top with its edges aligned with the framework. I put a few nails in one long edge and squared up the framework to match the plywood. Once the frame was square, we finished nailing the top in place, spacing the nails at 8" to 10" intervals along the frame.

Leg assembly. Each L-shaped leg is made from two 40" plywood strips that I glued and nailed together. Next, I add-ed a 35"-wide cross brace between each pair of legs. I turned the legs so the two

A solid base is the first step toward your layoutBy Jim Hediger

To make the leg sections interchangeable, Jim clamped them back to back and then drilled the holes for the bolts that will mount them to the tabletop. This way both legs will fit on either end of the table.

With David’s help, Jim assembled the tabletop frame. He used carpenter’s glue and trim nails to secure each joint. Before the glue set, Jim squared up the frame and added the 1⁄4" birch-plywood top.

17"

18"

Folding legs, built similar to table legs

72"

47"

96"

12"

Locating pegs, 1⁄2" dowel

Adjustable furniture feet

12" section of 2x 2

Cross braces, 11⁄2" lattice cut to fit

35"18"

40"

32"

Frame and legs made from 31⁄2"-wide strips of 1⁄2" birch plywood

Reinforcing cleats, 1⁄2" plywood strips

Extension top, 1⁄2" plywood, 18" x 72"

Tabletop, 1⁄2" plywood, 4 x 8-foot sheet

20"

20"

16"

20"

20"

Table construction diagram

12"

• 4 x 8 sheet ½" plywood ripped into 13 3½" x 96" strips (1)• 4 x 8 sheets ¼" plywood (2)• 8-foot 2 x 2 (1)• ¼" x 1" x 10'-0" molding (2)• ¼" x 3" carriage bolts (2)• ¼" x 2" carriage bolts (3)• ¼" washers (32)• ¼" wing nuts (18)• ¼" stop nuts (14)• Small box 4d 11⁄2" bright finishing nails (1)• Small box 1" panel board nails (1)• 4 x 8 sheet 1" foam insulationboard (2)• 4 x 8 sheet 1⁄8" tempered hard-board cut into 43⁄4" x 96" strips (1)• Adjustable furniture feet (6) • Loctite PL300 construction adhesive• Carpenter’s wood glue (Titebond)

BENCHWORK MATERIALS LIST

4 9 Guides for model railroading success • www.ModelRailroader.com

legs’ wide sides faced inward, and then I glued and bolted the cross brace squarely between them to add stability.

To mount the legs, I drilled a 1 ⁄4"-diameter hole into the tops of one set of legs. Then I clamped together both sets and drilled a matching set of holes in the second set. This makes them inter-changeable for moves. I also added 8" blocks of 2 x 2 to the bottom of each leg. After center- drilling these blocks, I added a leveling foot to each leg.

With the tabletop upside down, I clamped a set of legs to the first cross brace on each end, centered it, drilled mounting holes, and bolted on the legs. Then I drilled a 1 ⁄4" hole through the side of each leg 32" from the bottom.

I cut four side braces from strips of 1 ⁄4" x 1" wood molding, as shown in the drawing above. I clamped and drilled all four of them at once for interchangeabil-ity. Then I rounded the ends so the brac-es fit inside the legs.

Yard extension. I used a similar tech-nique for the extension, but I spaced its cross braces so the 17"-wide leg set could fold underneath. To accomplish this, I mounted the legs with a bolt through each side rail and rounded the leg tops for clearance. I also added a reinforcing block underneath the main table where the extension would be attached. The two table sections bolt together with a pair of 1 ⁄4" x 3" carriage bolts.

• Learn how to lay reliable track• Make it look realistic with roadbed and ballast• How to connect it to your control system

Track Tips & Techniques

GUIDE

2


There were many things I enjoyed about my previous Daneville & Donner River HO scale layout, but nearly as many things I wanted to improve. In fact, soon after I finished that layout, I began accumulating a list of projects I would have done in a different way had I known better or had other building materials available.

Of all the items on this list, improv-ing my trackwork was the most critical task I wanted to get right on my new and improved Union Pacific Daneville Sub-

division HO scale layout. Thankfully, my experience building several previous home layouts, the discovery of new prod-ucts, and my willingness to attempt a few new techniques helped me build a rail-road right-of-way that looks authentic and, more importantly, operates reliably.

Let’s look at some of the tips and techniques I used to successfully rebuild and enhance the appearance and perfor-mance of my layout trackwork.

By Pelle K. SøeborgPhotos by the author

A desire to improve trackwork led Pelle Søeborg to rebuild his entire HO scale layout. This photo of new trackwork reveals how sound techniques helped Pelle resolve previous issues.

5 Expert tips for installing track and roadbed

Get it at KalmbachHobbyStore.com For more tips and advice, download the PDF pack-age Realistic model railroading with Pelle Søeborg at https://kalm-bachhobbystore.com/product/digital-down-load/mrpdf063

• Working with sound-deadening material

Ballast

Subroadbed (MDF board)

Sound-deadeningmaterial

Cork strips Flextrack

9 Guides for model railroading success 7

Excessive track noise was one of the main reasons I decided to rebuild my Daneville & Donner River layout. I hadn’t paid much attention to the noise level until I started using loco-motives with sound decoders. That’s when I recognized how the wheel noise from rolling freight cars almost overpowered the sound of the locomo-tives. Fortunately, my friend and fellow layout builder Flemming Ørneholm had solved the track noise problem on his layout. I simply borrowed his idea of adding a layer of automotive sound-deadening material before installing roadbed.

I use 4mm-thick asphalt-based sound-deadening mats that are meant for reducing the noise and vibrations in automobiles and other motor

vehicles. Automotive parts stores and various online suppliers in North America stock this material made by manufacturers such as Design Engi-neering Inc. and Dynamat.

I cut the panels in strips of various widths: 2"-wide strips for straight track and 3 ⁄8"-wide strips for curves. Under multiple tracks, I used pieces that matched the total width of the tracks. Flemming also applied a layer of foam rubber from an exercise mat under the material, but I skipped that step and applied the strips directly to the MDF subroadbed hoping it would reduce the noise enough to give the sound decoders a chance. I don’t mind some wheel noise, as long as I also can hear the locomotive sounds.

The self-adhesive, sound-deaden-

ing material is easy to apply. You need to clean off all sawdust from the surface before you attach the pieces, or they won’t stick properly.

The material is coated with a thin cling film. I was afraid the glue I use for ballast wouldn’t stick properly to the film, so I removed it. The film has a tendency to come apart when you pull it. Eventually I found out that if you heat the surface with a hair dryer first, the film becomes easier to remove.

Finally, we test-ran a locomotive on Flemming’s layout and then on mine to see how much difference the layer of foam rubber on Flemming’s layout made. On Flemming’s layout, there was almost no wheel noise. On my layout, you could hear wheel noise, but not in any annoying way.

This is how the Daneville area appeared with the sound-deadening material installed over the medium-density fiberboard (MDF) surface. The asphalt-based panels are self-adhesive, so you need only remove the backing paper to apply cut strips.

Step 1 Add a sound-deadening subroadbed

Pelle used a utility knife to cut about one third of the way through the self-adhesive backing paper and sound-deadening material, before breaking off the strip along the perforation.

The surface of asphalt-based material is coated with a protective film. Pelle found that the film is easier to remove if you first heat the surface with a hair dryer set at a moderate temperature.

After heating the surface of the material, quickly pull off the film while the strip is still warm and soft. If it’s allowed to cool, the film has a tendency to come off in small pieces.

Clear surface of debris before applying self-adhesive material

Wide sheets of material installed in the Daneville yard

Narrow strips of material used to form curves


Cork is my preferred choice of roadbed. It’s easy to cut and sand, it’s flexible, and it holds spikes well. You can use several types and thicknesses of cork for roadbed on the same right-of-way. For previous layouts, I’ve used cork intended for flooring, which is typically hard and dense. More recently, I used a very soft type of cork with the thought it would also help squelch track noise. It’s also easy to cut and shape.

Large sheets or rolls of cork, available at home improve-ment centers, office supply stores, and model railroad suppliers, can be cut into strips using a straightedge and a utility knife. For straight track, I cut 17⁄16"-wide strips that covered the width of the track. For curves, I cut the strips half the width, so they could more readily bend to fit the radius without creating bulges. Within rail yards, I laid sheets wide enough to go under all of the tracks. For turnouts, I cut pieces of cork to fit under each turnout.

A mainline right-of-way has higher ballast than does secondary track, so I used two different thicknesses of cork:

13 ⁄64" (5mm) for the main line and 1⁄8" (3mm) for sidings and yards. I glued the cork on top of the subroadbed using ordinary all-purpose glue, but you can also use latex caulk.

By using flextrack on previous layouts, I’ve actually come to enjoy laying track. After flextrack is weathered, it can appear just as realistic as handlaid track, but without the additional work. Of the many available brands, I prefer Micro Engineering track due to the wide selection of rail sizes.

I use three different rail sizes on my layout. For all mainline track, I use code 83. For secondary track and yards, I use code 70, and for spurs, I use code 55.

I didn’t glue my track to the cork, but mounted it with spikes only. That way, I can, if necessary, easily readjust a section of track simply by pulling up a couple of spikes and pushing the spikes down again.

I solder the joints on every second section of track. Temperature and humidity are constantly changing where I live, so on the rest of the joints I leave small gaps for expansion. I also solder feeder wires to every section.

Step 2 Use easy-to-cut cork roadbed

Step 3 Install flextrack and feeder wires

Use pushpins or nails to hold cork in place, especially on curves, while the glue dries

Prior to installation, ap-ply a bead of all-purpose glue along the length of the cork strip

Narrow strips of cork make up the roadbed through curves

Sound-deadening material

Siding uses code 70 rail

Spur uses code 55 rail

• Securing and aligning track

Pelle installed cork roadbed over every strip of sound-deadening material on the layout. After allowing the glue to dry, he sanded the cork to make gradual transitions.

Pelle used three different rail sizes. For all mainline routes, he used code 83. For secondary track and yards, he used code 70, and for spurs, he used code 55. The track in the foreground is code 55, and the track at center is code 70.

Rather than applying glue, Pelle used only spikes to secure his track to the cork. Sighting down the rails from a low angle is an quick and easy way to align track as you proceed.

For more precision, use a jig to space the tracks consistently. The distance between the centers of the tracks on Pelle’s layout is 15 scale feet in curves and 131⁄2 scale feet on straight track.

Between every second section of flextrack Pelle left a gap in the rails to account for expansion. To maintain the identical spacing, he used the same piece of styrene strip on all gaps.


Cork along the siding is only 1⁄8" tall

Mainline cork stands 13⁄64" tall

• Same layout, multiple codes

• Adding feeder wires to track

• Making smooth transitions• Establish track spacing

Pelle used a simple spacer to keep the cork roadbed spaced consistently. This tool is little more than a scrap of styrene he cut to width and labeled for easy identification.

Pelle used a wider spacer to align parallel curves, which are a little farther apart than his parallel straightaways. This ensures clearance for long, modern freight cars when they pass each other.

Along the trackwork at Daneville, there’s a height difference between the roadbed on the main line and on the siding. Pelle used 13⁄64” (5mm) cork for the main and 1⁄8” (3mm) for sidings.

A power sander helps form a smooth transition between the main line and siding. Make the transition as long as possible. If it’s too steep, there’s a risk your trains will uncouple.

The upper track in this photo is code 55 used for a spur and the lower track is code 70 yard track. Note that the ties on the spur are spaced farther apart than on the yard track.

On infrequently used track, there's often greater distance between ties than on mainline track. Pelle simulated this by cutting the connectors and then spreading the ties farther apart.

When Pelle connects rails of different heights, he squeezes the open end of the rail joiner on the tallest rail flat and solders the lower rail on top of it.

After connecting the wires, Pelle finished the trackwork by replacing the ties under the rails. He had removed them to make drilling holes and soldering joints easier.

To provide reliable power to the rails, Pelle connected feeder wires to every section of track. He drilled the holes for the wires through the roadbed as close to the rails as possible.

Pelle soldered the joints between every second section of flextrack. He also soldered the feeder wires to these joints, so one set of wires can power two sections of flextrack.


• Superelevated with styrene

One subtle way to make curved track appear more like a realistic railroad right-of-way is to elevate one rail higher than the other, an arrangement called superelevation. The long curves on my layout are superelevated. To raise the outer rail, I glue a small piece of styrene under every ninth tie. I make gradual changes of elevation by inserting .010"-thick styrene pieces under the first 8" of track, then placing .020"-thick styrene under the next 8" of track, followed by .030" styrene, and ending with .040" styrene for the highest elevation. This creates a long and smooth approach to the elevation. A steeper rise in elevation can cause derailments, especially with long locomotives. I didn’t superelevate the short curves on my layout due to the steep rise that would be needed.

Superelevated curves don’t improve how model trains operate on the track. Actually, they can make it more troublesome. Long, top-heavy double-stack trains have a tendency to tilt too much when they roll through a superelevated curve. Perhaps the only reasonable argument for having superelevated curves on a model railroad is that it looks so cool when a train glides through.

On the subject of curves, the biggest compromise on my layout is I had to settle for a 33" radius for mainline curves and a 31" radius for one passing siding. Neither radius is optimal for running modern equipment with freight cars up to 90 feet long. To minimize the non-prototypical appear-ance of such sharp curves, I intentionally set my layout at a relatively tall height of 55 to 57 inches, where curves appear to “flatten out" to the eye.

It’s a good idea to route a test train through newly laid track. I did this on my layout to make sure there were no mysterious derailments or dead spots before adding ballast and additional scenery. Along with running a test train, I also assembled a train with a widely varying and unbalanced

consist of freight cars, including long 90-foot autoracks coupled next to short 60-foot cars. After testing this atypical consist through these curves in both directions, I was confident any other trains could operate without issue. Fortunately, my tests have yet to prove me wrong.

Step 4 Create superelevated curves

Step 5 Test the atypical trains

Here’s Daneville with track in place. Pelle used test trains to make sure there were no derailments or dead spots.

It’s hard to deny how impressive it looks to see a train truly lean into a superelevated curve.

Pelle superelevated main line curves by adding .010" styrene shims under the first 8" of track, .020" under the next 8" of track, then .030", and finally .040" for the highest elevation.

Styrene shim under every ninth tie

After testing his trackwork, Pelle made minor adjustments prior to adding ballast and scenery.

• How to make your track electrically reliable• Routing power through turnouts• How to hide electrical wires with scenery

Wiring Made Easy

GUIDE

3

1⁄8" hardboard fasciahides wiring runs

1⁄4"-diameter feeder conduit drilled through foam Feeders soldered

to underside of rail or rail joiner

Feeder trench (cover later with Sculptamold)

Notch cut in foam for wiring run

Foam insulation board

Hollow-core door

Feeders soldered to bus wires (offset exposed connections to avoid short circuits)


Trackwork makes or breaks a layout. Good trackwork can actually improve the running characteristics of your locomo-tives and rolling stock and reward you with years of reliable operation. Poorly laid track will provide hours of frustration.

But with the wealth of high-quality track components avail-able today, laying smooth track isn’t difficult. And with the help of a few time-saving techniques, such as soldering feeders

and assembling complex trackwork ahead of time at your workbench, even something like my Waterbury yard (shown above) is easy to build.

Follow along as I explain how I laid and wired the track for my N scale layout. Whether you’re planning a small, portable layout or a home basement empire, you too can have trains gliding around your model railroad in no time.

Step 1 Choosing your track and a wiring overview

For my N scale layout I chose Peco’s line of code 55 track. Though its plastic ties and tie-spacings aren’t as fine as some other track brands, Peco offers a nice selection of turnouts and specialty pieces. The main reason I chose this track, however, is Peco turnouts come with a built-in toggle spring for the points. Simply push the points over with your finger, and the spring holds them in position, eliminating the need for manual ground throws or electric switch motors. See the photo above.

I laid the track on top of standard N scale cork roadbed, cemented over a

subroadbed of 2" foam insulation board. The track is secured in place with latex adhesive caulk, as shown later in step 4.

For this layout, I devised a slightly unorthodox method to conceal all the wiring. I built the layout on a series of hollow-core doors and didn’t want any exposed wiring hanging down under-neath where it could be snagged and

damaged. With that in mind, I con-cealed the wiring buses behind the fascia and inside the scenery, as shown in the illustration.

If you wish to use more conven-tional wiring methods, you can still use all the following steps for wiring and laying track, but run your feeders straight through the roadbed to buses under the layout.

Factory-installed points spring

Illustration by Jay Smith

5 Expert tips for installing track

and roadbed


and roadbed


and roadbedby David Popp


Step 3 Cutting and filling gaps

Step 2 Soldering feeders and jumpers

You can speed up the tracklaying process considerably by preassembling and wiring as much of the trackwork as possible on your workbench. This includes soldering together key track sections, such as places where two or more turnouts are in close proximity, as well as attaching feeder wires.

By soldering electrical feeders to the rails before laying the track, you can attach them to the underside of the rail or of the rail joiners, as shown in the top left photo. This makes the feeders virtually invisible.

I use Peco Electrofrog turnouts on my layout. Unlike insulated frog turnouts where the frog section is electrically dead, an Electrofrog turnout carries current all the way through the frog. This provides smooth locomotive operation through the turnout. Live-frog turnouts require two-rail wiring, which includes cutting gaps in the rails beyond the frog and soldering new feeders to those rails.

If you’re using Digital Command Control (DCC), those extra rail feeders beyond the gaps can be made with simple jumpers, as shown in the top right and middle photos. If you’re using a DC cab-control system, instead of jumpers, you’ll need feeders for each electrically isolated section of rail. For more information about this type of control and two-rail wiring in general, see Larry Puckett’s book, Wiring your model railroad, (Kalmbach).

Once the turnout is wired, it can be installed on the layout, as shown in the bottom photo.

When using track components with electrically live frogs, you need to isolate the two rails running away from the frog, opposite the points end. You can do this with plastic rail joiners, but they tend to look unrealistically oversize when used with N scale track. Instead, I prefer to cut gaps in the rail with a cutoff-wheel-equipped motor

tool at the appropriate points and then fill the spaces with gray ABS plastic.

After laying a turnout and its adjoining track and letting the adhe-sive caulk dry for 24 hours, cut the gaps in the two rails. See the left-hand photo. Be sure to cut these gaps between two ties to keep the rail sections aligned.

Next, place a drop of cyanoacrylate adhesive (CA) into the gaps, and then insert .010" strips of gray ABS plastic to fill the spaces. When the CA has dried, use a sharp hobby knife to trim away the excess plastic, and file the plug to match the profile of the rail. When you paint this section of track, the plastic will no longer be visible.

Wire laid in trench and covered later with SculptamoldTunnel to wiring run

Turnout and track cemented to roadbed – see step 4

Add feeder wires hereJumper wires used in complex track arrangement

Jumper wires needed with live-frog turnouts

Feeders soldered to rail joiners

Trim and file plastic to rail shape after cement dries

.010" ABS plastic filler

Cut gaps between ties to keep rails aligned

Motor tool with cutoff disk

Flextrack is one of those miracle model railroading products: It’s easy to use, and you can curve it to follow just about any right-of-way. Forming smooth joints on continuous curves where one section of flextrack meets the next can be a little tricky.

To get smooth flextrack joints on curves, start by fitting and cementing

the first piece of the curve in place, pinning the track to the roadbed so it can’t shift. Next, lay a bead of adhesive caulk for the second piece of the curve, as shown in the top photo. Attach a straight piece of flextrack to the curved section you’ve already laid, and solder the two together as shown in the middle photo.

After letting the solder cool, carefully bend the straight flextrack to follow the curve, press it into the adhesive caulk, and pin it in place, as shown in the bottom photo. Let the adhesive dry overnight. Using this technique, you should be able to lay flextrack on curves without introduc-ing any kinks into it.

Two additional prototype track details you can add at any time are track bumpers and guardrails.

Track bumpers are a common railroad feature used to keep cars from rolling off the end of the track. A quick look in the Walthers catalog will reveal that there are a lot of track bumpers available. I chose metal, Hayes-style bumpers made by Tomar Industries.

These bumpers come soldered to a short section of code 80 track, but that didn’t match my existing Peco code 55

rail. For the sake of appearance I removed the bumpers and soldered them to the Peco track, as shown in the top left photo. Because the bumper is solid metal, you’ll need to gap one of the rails to prevent a short circuit. I cut the gap and filled it using the same method as shown in step 3. Real bumpers are often left unpainted, so I painted mine a nice rust color, as shown above right.

Bridge guardrails are another prototype track feature. I made mine

from rail stripped off a piece of Atlas code 55 flextrack (you could also use Micro Engineering code 40 rail).

If you’re installing the guardrails after painting and ballasting the track like I did, you’ll want to paint them before installation. Cut and bend the rails to fit between your bridge tracks, then spray them a rust color. Cement the guardrails in place with CA, as shown in the middle photo. Once the adhesive has set, weather the rail with a wash of thinned black acrylic paint.


Step 4 Working on curves

Step 5 Track bumpers and guardrails

Pin track to hold shape as necessary

Curve flextrack and press into adhesive

Solder rail joint

Keep flextrack straight while soldering

Smooth bead to avoid having caulk ooze up between ties

Latex adhesive caulk

To avoid potential short circuits, ends of guard-rails must not touch

Guardrails weathered with black paint wash

Cement to tops of ties with CA

Prepaint rails before installation

Guardrail made from Atlas code 55 rail

Solder bumper to rails

Tomar Industries Hayes bumper

• Learn basic scenery techniques• Add the illusion of distance to your backdrop• How to add ground cover and trees

RealisticScenery MadeSimple

GUIDE

4


Step 1 Cutting and shaping

Basic scenery techniquesBy Cody GrivnoPhotos by Jim Forbes

Installing a foam berm, adding ground foam, and planting trees on Model Railroader’s Milwaukee, Racine & Troy club layout are covered in five simple steps.

Many modelers spend hours painstakingly detailing loco-motives and weathering freight cars, and that’s understand-able. These are the stars of the show on a model railroad. But when it comes time to bring their stage to life and add scenery to a layout, several of those same people will cringe.

With the wealth of scenery products available today, it’s easier than ever to have a realistically scenicked model railroad. Gone are the days of dyed sawdust, lichen, and flat plastic trees.

Today we’re blessed with ground foam in an amazing assort-ment of colors and textures, clump and fine leaf foliage, and great looking trees (some even have realistic wood trunks!)

If you’ve put off scenery on your model railroad, give these techniques a try. Though the scene shown above is just 4" deep, you can easily adapt these techniques to deeper scenes. Adding scenery will turn your railroad from the Plywood Pacific to a scenic showcase.

The distance between the backdrop and roadbed for our scenic berm is 4", but I didn’t want to fill the entire space with foam. Instead, I cut the foam 33 ⁄4" wide with a large utility knife. To prevent the foam from tearing, I made several light passes instead of trying to cut through it in one pass. A metal yardstick is an ideal cutting guide.

To make the rectangular block of foam look more like a berm, I tapered the edge closest to the aisle at a 45-degree angle with the same knife.

To prevent injury, make the cuts away from your body. The foam has just enough resistance that the knife may slip, potentially causing injury.

I further shaped the foam with sanding sponges. The sponges are offered in a variety of shapes, includ-ing a rectangular block, 45-degree edge, and round edge.

You can also shape the foam with rasps. However, these have a tendency to tear the foam. No matter which option you choose, work with the foam

in a well-ventilated area and wear proper safety gear.

I randomly attached pieces of scrap foam to give the berm some small elevation changes. It’s important to use an acrylic (foam-safe) adhesive, such as Liquid Nails for Projects or DAP Dynaflex 230. Solvent-based adhesives will attack the foam, causing it to dissolve. I used T-pins to hold the foam in place while the adhesive dried.

Attach with foam-safe adhesive

Scrap foam

Sanding sponge

Make cuts away from body

Extruded-foam insulation board

Yardstick

Utility knife


Step 2 Installation

Step 3 Sculptamold and hills

With the foam pieces cut into chunks roughly the size I want them, it's time to install them. I’ll be blending the berms into the layout with Sculptamold, so I needed to protect the freshly painted backdrop. To do this, I used Scotch blue painter’s tape to secure pieces of waxed paper to the tempered hardboard. Sculptamold, a papier-mache-based product, won’t stick to the waxed paper, making it easy to remove.

Next, I applied DAP Dynaflex 230 sealant to the back of the foam. The color doesn’t matter – I used gray because that’s what was in the

workshop. I used a putty knife to evenly distribute the adhesive.

The extruded-foam insulation board has a tongue-and-groove edge. The first berm I shaped had the tongue to the right, so I shaped the second piece so the groove was to the left. This created a barely discernible joint.

I wanted to give the adhesive plenty of time to dry, so I installed the foam on a Friday afternoon. However, when I set the foam in place, I noticed it had a slight bow in the middle. To prevent the foam from lifting over the week-end, I weighted it down with Model Railroader bound volumes (an old trick

I learned from former managing editor Jim Kelly). On Monday morning, the adhesive was dry and the extruded foam was flat.

After taking the T pins out of the scrap pieces of foam, I blended the hills into the rest of the berm with Sculptamold. I also used the material to blend the front edge of the berm into the tabletop.

Sculptamold has a short working time (10-15 minutes), so I worked in small areas. I used a putty knife to spread the scenery material, though any similar smoothing tool will work.

I let the Sculptamold set up for about five minutes before using a

damp sponge to blend any seams or ridges left by the putty knife. To prevent the Sculptamold from lifting, I worked in a gentle, blotting motion.

I let the Sculptamold dry for about three hours before I removed the waxed paper. It was still far too soon to add scenery (the Sculptamold should be free of cold, damp spots before moving to this step), but I could work on the backdrop.

Since I knew I’d be adding trees to the berm (see step 5), I didn’t want the

sky blue backdrop to be visible at the horizon line. Then I remembered Lance Mindheim’s article in the August 2009 issue of Model Railroader where he wrote about using scuff pads to model distant hills. I didn’t have any scuff pads on hand at the time, and the magazine deadline was coming fast. Instead of using scuff pads, I painted the backdrop.

To do this, I first set a compass so there was 11⁄2" between the spike and the pencil lead.

Bound volumes hold foam down while adhesive dries

GrooveTongue

DAP Dynaflex 230 sealant

Putty knife

Painter’s tape

Waxed paper

Compass

11⁄2"

Damp sponge

Work in gentle, blotting motion

Hill

Sculptamold

Putty knife


Step 3 Sculptamold and hills (cont’d)

Step 4 Ground cover

Step 5 Trees

When the Sculptamold was com-pletely dry, I painted it and the foam with an earth-tone latex paint. Once the paint had dried, I coated the scenery base with thinned white glue (9 parts glue, 1 part water). I worked in

small areas so the glue wouldn’t dry before I had time to add the scenery materials.

I used a variety of scenery products for the floor of the wooded area. First, I applied Woodland Scenics burnt and

light green, green blend, and earth blend turf. I followed that with Scenic Express farm pasture blend Flock & Turf and fine soil. This provided a good base, but the berm still looked far less “wild” than I liked.

Using foam for the berms is ideal when it comes to planting trees. I used an awl (a metal straight pick will also work) to poke holes in the foam. If I didn’t like the location of the tree,

I simply plugged the hole with ground foam and tried again.

I used trees from Grand Central Gems, JTT Scenery Products, and Timberline Scenery to match those

used on other portions of the Milwau-kee, Racine & Troy. I secured the trees with full-strength white glue. I used clothespins to keep stubborn trees upright while the glue dried.

Use pliers to plant trees

Timberline Scenery

Grand Central GemsJTT Scenery ProductsUse awl to make holes

Soften edge by dusting color

Polly Scale Grimy Black

Painter’s tape

Next, I roughly masked along the pencil line with the painter’s tape. Then I sprayed the backdrop with Polly Scale Grimy Black, which is similar in color to a scuff pad. When airbrushing

in a layout room, be sure to wear the proper protection for the type of paint you’re using.

I removed the masking tape but didn’t like the look of the hard edge. To

soften it, I dusted the edge with more Grimy Black. The softer edge made all the difference to my eye. It better represented the look of a distant tree line, giving the scene more depth.

Heki grass padFine leaf foliageFoliage net

Thinned white glue

Earth-toned latex paint

• How to build a plastic structure kit• Painting tips for adding realistic detail• How to scratchbuild a wood handcar shed

Make Your Own Buildings

GUIDE

5


Injection-molded plastic structure kits have been a staple in the hobby for several decades. The early offerings were fairly crude with heavy, molded details and parts that didn’t fit together well. Today’s kits are vastly improved with fine detail definition, better fitting parts, and separate details.

For this project, I assembled the Magnolia Hotel, a Walthers Cor-nerstone Series kit (no. 933-3462). This basic, but well-detailed kit is ideal for someone building their first structure. The windows, doors, and cornice are separate pieces, making the painting process easier.

The key to success when building a structure kit is having the right tools, glues, and paints. Throughout this story I’ve specified the vari-ous products I used to create the finished building shown at right. Though I followed the box art when painting the hotel, I could just as easily have painted the building brick red with different trim colors.

If you’ve never assembled a plastic structure, give it a try. In a few nights you can turn a box full of parts into a great-looking structure you can enjoy for many years.

How to build a plastic structure kit

As with most injection-molded plastic kits, the parts on this Walthers kit are attached to a sprue. I use a pair of sprue cutters to cut the wall sections from the thicker sprues, as shown in the left photo. For delicate parts with thinner sprues, I use despruing tweezers, such as item no. 82393 sold by Micro-Mark.

Next, I examine the parts for flash (excess plastic that oozes out of the molds), roughness from sprue attachment points, and seams. The parts had little flash, but there were some rough spots and a seam on the top of the cornice. I use a flat jeweler’s file to eliminate the seam and smooth out the rough spots on the flat surfaces, as shown in the middle photo. In the corners and around the details, I use a hobby knife to knock down the seam. I make a final pass over the top of the cornice with 600-grit sandpaper to make sure the plastic is smooth.

Then I test fit the pieces to confirm they fit as shown in the instructions. There are a few pieces of flash in the corner alignment tabs, so I clean it out with a hobby knife.

Once the building fits properly, I glue the wall joints with Tenax-7R, a plastic-compatible cement found in most hobby shops. To keep the corners at right angles, I tape the walls to the supplied base. If your kit doesn’t have a base, that’s OK. There are a variety of corner clamps and braces, such as the Right Clamp by Coffmann Graphic Solutions Co. and Building Squares by City Classics.

After the four walls are glued, I notice there are some gaps in the corner joints. To fix this, I sparingly apply the same plastic cement along the outside corners using a Microbrush, as shown in the right photo. The cement will melt just enough plastic to fill the gap. Don’t apply too much glue, though, or you may melt the brick detail.

1 Cutting and gluing

By Cody Grivno

Apply Tenax-7R sparingly with MicrobrushRoughness from

sprue attachment point

Jeweler’s file

Seam

Sprue cutters

Sprue


3 Windows 4 Final touches

2 Painting and weathering

The Magnolia Hotel kit is easy to paint because the doors and windows are separate parts. First, I use an airbrush to spray the walls with Acrylicos Vallejo Iraqi Sand (1). Once it’s dry, I apply a wash using 3 parts distilled water, 1 part Model Master Acryl Light Gray, and 3 drops Liquitex Flow Enhancer. The wash (2) makes the mortar detail stand out.

Next, I brush-paint the window sills with Lifecolor UA 717 cold base color (3). This color is part of the firm’s Weathered Wood set, but it looks like concrete when dry.

Since the kit is small, I mask the edges of the windows with blue painter’s tape (4). This keeps the Model Master Acryl Gunship Gray off the gluing faces. Once the paint is dry,

I attach the windows with Plastruct Bondene (5). Why a different glue? Well, there was some overspray on the interior and the mounting pins. The Bondene is strong enough to eat through paint and create a solid bond.

Finally, I airbrush the cornice Vallejo White. I brush-paint the trim Gunship Gray (6), then spray the building with Vallejo Matte Varnish for a flat finish.

The kit includes clear window glazing, which I install with Testor’s Clear Parts Cement & Window Maker. This glue is a milky color out of the bottle but it dries clear.

Then I install the supplied printed paper window treatments. These not only give the structure a lived-in look, but they prevent people from seeing through the hollow building.

Finally, I paint the roof and chimney cap Lifecolor UA 734 Worn Black. After attaching the roof with Bondene, I fill the seam between the roof and the walls with medium viscosity cyanoacry-late adhesive (CA). Once the CA is dry, I brush-paint over it with Model Master Acryl Flat Black. I use a thinned version of the same color to apply soot stains to the chimney with an airbrush.

Acrylicos Vallejo White

Cornice trim, Model Master Acryl Gunship GrayApply Bondene

with MicrobrushMask gluing faces of windows

Lifecolor UA 717 Cold Base Color

Wash made with Model Master Acryl Light Gray

Acrylicos Vallejo Iraqi Sand

Model Master Acryl Flat Black

Soot stains

Lifecolor UA 734 Worn Black

Testor’s Clear Parts Cement & Window Maker

Window treatments

Windows without treatment installed

Cement dries clear


How to scratchbuild a handcar shedA styrene core makes it sturdy; wood sheathing makes it realistic

By Russ Watson • Photos by the author

Every railroad needs myriad small storage sheds along the right-of-way and in engine terminals and yards. When I re-quired a small trackside shed for my freelanced On30 (O scale on 30"-gauge track, also known as On21⁄2) North Cariboo Ry., I decided it should show its age. I figured the shed would have been built before the turn of the last century, at least 35 years ago relative to my modeling era, for the track maintenance gang to store its tools and supplies. The rails and wide doors

were included to accommodate a handcar and later a motor-ized speeder. The shed’s roof sags slightly. I built the shed with-out interior detail.

I built the model as a styrene shell on a wood foundation with individual board siding and commercial windows and roofing. I hope you enjoy building this little shed and it finds a place on your layout.

Russ Watson’s scratchbuilt shed, finished with a variety of barrels, sacks, wire, and other details, is complete and installed on his O scale layout. Russ built the shed using stripwood and commercial window castings over a styrene core and plywood foundation. His techniques, and the plans at right, can be used in any scale.

.040" styrene

.080 X .156"

12" boards

Cornerdetail,seenfrom top

6" board

Front

Rafter endsMake 8 per side

9" square wood

Make two

Barge boards

Ridge support, .040" styrene sheet

.040"styrenesheet

Make two - one without the door opening

Window glazingMake 4

9" sq. wood

TO CONVERT S SCALEDRAWINGS TO YOUR SCALE COPY AT THESE PERCENTAGES:N 40 percent HO 73.5 percent O 133.3 percent

Ratio 1:64, S scale


Step 1 Base and foundation Step 2 Cut the walls

Cut the base from a piece of 1⁄4" plywood. Paint the base with an earth-color acrylic paint. Cut the foundation from 9" square scale lumber. Stain the lumber using a stain of 1 part black craft acrylic paint to 12 parts water. [You can also use 1 part India ink diluted in 10 parts rubbing alcohol to stain your lumber. – Ed.] Draw the location of the foundation on the base using a square, straightedge, and pencil. Remem-ber to leave a gap for the track that will be laid into the building. Use white glue to attach the foundation pieces to the base.

Cut out the side and end wall templates from a copy of the drawing, scaled to your modeling scale. Tape the templates onto .040" plain sheet styrene sheet, draw the walls on the styrene, and then cut them out. Scribe the window perimeters with a hobby knife, then make multiple passes to cut an X in the middle of each window opening. Bend the triangular pieces back to snap them free of the opening. Clean up the window openings with a flat file and ensure the commercial window castings will fit.

9” square stripwood foundation

Plywood base

Snap out windows from middle

Tape pattern to .040” styrene


Paint the windows with concrete-colored or gray paint, then when dry, apply a wash of the lumber stain. Once that’s dry, drybrush as in the previous step. Cut the door boards to length, then stain and paint them. Tape the door pattern to a flat surface and apply two narrow strips of double-sided tape, as shown in the photo. Lay the boards on the tape, with the outside surface down, and use white glue to attach the inside supports (shown on the drawing as dotted lines). I put a sag in the doors by positioning the boards toward the center a little lower than the ones on the ends. Once the glue is dry, remove the doors from the pattern and use a pin to emboss nail heads into the front of the boards.

Using .080" x .156" styrene reinforcing strips to strengthen the joints, cement one end wall to the front wall with liquid styrene cement. Repeat with the other end and back wall, creating two L-shaped assemblies. Be sure the corners dry square. Then, cement the two wall assemblies together. Cut a roof ridge support strip from .040" styrene; to make my roof to sag, I cut a slight curve in the top edge. Cement the support in place.

Paint the inside and outside of the styrene walls with black acrylic paint. This will hide any gaps in the siding, as well as the lack of interior detail. Glue wood ties for the rails leading into the doors to the base using white glue. Attach the wall assembly to the foundation using a contact cement like Walthers Goo. It dries slowly, allowing the walls’ position on the foundation to be adjusted as needed before it dries.

Cut the scale lumber siding to length. The first and last board on the front and back walls are 1 x 10 lumber. The lumber overlaps the top of the wood foundation by about 2 scale inches. Add grain to each board by dragging a fine razor saw with the grain. Remove any wood fuzz with a sanding stick. This weathering should be more severe on the lower areas of the walls than on the top, which is somewhat protected by the roof overhang. Stain the lumber with the stain used earlier.

After the stain has dried, lightly rub a sanding stick over the boards to reveal some bare wood. Dip a Microbrush into a tube of artist’s oil paint and then rub the brush on a paper towel to remove most of the paint. Use this almost dry brush to apply small dabs of paint to each board, more at the top than the bottom. Immediately rub the paint with your finger to spread the paint down the board. If you apply too much paint, use a sanding stick to rub some of it off.

Step 3 Assemble the walls

Step 5 The siding

Step 7 Windows and doors

Step 4 Glue walls to foundation

Step 6 Painting

Brace walls square as cement dries

Reinforcing strips, .080" x .156"

Glue down ties for rails

Use Goo to attach walls to foundation

Paint styrene walls black

Scribe siding with razor saw

Microbrush

Drybrush stained siding

Artist’s oil paint

Double-sided tape

Windows, Grandt Line 3702

Adhesives• Loctite Super Glue Gel• Plastruct Plastic Weld Solvent Cement• Testor’s Clear Parts Cement & Window Maker• Walthers Goo• Weldbond white glue

Bragdon Enterprises• BRA-FF-65 weathering kit soot chalk

Grandt Line• 3508 hinge assortment• 3702 27" x 48" windows

Scale lumber• 1 x 6• 1 x 8• 1 x 10• 1 x 12• 2 x 4• 2 x 8• 9" square

Paint• Rust• Weathered black• Concrete• Polly Scale F404106 Flat Finish• Craft-type black acrylic • Red artist’s oil

Stain• 1 part black acrylic paint with 12 parts water

Styrene• .010" clear sheet• .020" plain sheet• .040" plain sheet• .080" x .156" strip

Paper Creek Model Works• 202 O scale tar paper roofing

MATERIALS LIST


Starting with a 1 x 10 board positioned flush with the end of the front wall, apply the siding using white glue. Let the adhesive dry thoroughly on the boards that flank the window before trimming them with a hobby knife to fit the window opening. Next, add the trim boards. Once the glue is dry, file the roof angle into the top of the boards on the front and back walls. Emboss nail heads into the boards.

Cut the window glazing from .010" clear styrene sheet and glue it to the inside of the windows. I cut a corner off one piece of glazing to model a broken window and scribed cracks on the inside of another. Paint the hinges and glue them to the doors using gel cyanoacrylate (CA) glue, then glue the doors on. Cut the rails to length and use CA to glue them to the ties. Cut, stain, and glue on walkway boards.

Cut the roof from .020" plain styrene sheet. Paint the edges with concrete-colored or gray paint. Cut the barge boards and rafter ends from 2 x 4 scale styrene strip. Note that the four rafter ends on the corners will be shorter. Paint the visible underside roof surfaces and the barge boards and rafter ends red. Mark the locations of the rafter ends onto the lower edges of the roof based on the drawing. The back of the shed isn’t visible on my layout, so I chose not to install rafter ends there.

Use gel CA to glue the roof in place. Glue the barge boards and rafter ends to the underside of the roof.

I finished my roof with Paper Creek Model Works tar paper roofing. The company is no longer in business, but similar products are available from other manufacturers. Use white glue to adhere the roofing, starting at the bottom edge. I used a few drops of light lubricating oil on the planks between the rails and some powdered pastels to weather the rails and planks.

Step 8 Adding the siding Step 9 Install the details

Step 10 Prepare the roof Step 11 Install the roof

White glue applied with paintbrush

Hinges, Grandt Line 3508

RailsWalkway

Install door trim

Broken window corner

Rafter tails and barge boards, 2 x 4 styrene strip

Roof, .020” styrene

Black paint for cut edges of roofing

Tar paper roofingWhite glue

• Make your models look aged and worn• How to use a variety of weathering media• Learn application techniques for more realism

Painting &Weathering Tips

GUIDE

6


How to simulate dirt, rust, faded paint, and more

By Cody Grivno • Photos by Bill Zuback and Jim Forbes

One of the goals many model rail-roaders share is having a layout that operates and looks like the real thing. Part of achieving the latter is weathering locomotives, freight cars, and structures to look like their full-size counterparts. Here, I share five of my favorite weather-ing techniques. All of these methods can be adapted for use in any scale.

Like many of you, I started weather-ing model railroad equipment with powdered pastels as a teenager. Over the

years, I’ve added drybrushing, airbrush-ing, and artists’ oils to my repertoire. I also started experimenting with cosmet-ic applicators as a weathering tool, and I’ve been pleased with the results, shown on page 32.

The techniques shown here range from beginner to advanced. Each method can be used on its own. As you develop your skills, try combining the techniques on one model to get different textures. I think you’ll like the results.

A BNSF SW1000 looks well used because of the weathering applied to it. You can learn how the patina of age was applied on page 32.

5 ways to weather

Get it at KalmbachHobbyStore.com Want more weathering advice? Download the PDF package Weathering tips and techniques, https://kalmbachhobbystore.com/product/digital-download/mrpdf010


If you’re looking to give your freight cars and locomotives a general coat of grime in relatively little time, try using an airbrush and thinned acrylic paints.

My first step on this Athearn HO scale 54-foot covered hopper kit was to spray the entire car with thinned Polly Scale Reefer White (1 part paint to 9 parts 70 percent isopropyl alcohol). I built up the color in layers, aiming for a slightly faded look.

After the white had dried, I sprayed the car with the same ratio of Polly Scale Railroad Tie Brown. I moved the airbrush in a vertical motion, keeping it parallel with the exterior posts, as shown in fig. 1.

Some of you may be wondering why I recommend using acrylic paints. Well, it’s for the next step. After I applied the Railroad Tie Brown, I dipped a cotton swab in Windex and carefully wiped the paint off the faces of the exterior posts, as seen in fig. 2. These posts tend to collect less dirt than the car sides. This subtle bit of reverse weathering is an easy way to give your exterior-post freight cars some added realism.

I then shifted my attention to the slope sheets. Figure 3 shows how I used thinned Polly Scale Steam Power Black to simulate the oil and grease streaks on the car ends. The key here is to keep the streaks vertical and parallel.

With the weathering complete, I sprayed the carbody with Polly Scale Gloss Finish in preparation for decal-ing. Afterward, I sprayed the entire model with the firm’s Satin Finish.

Fig. 1 Grime time. Cody used thinned Polly Scale Reefer White and Railroad Tie Brown to make this covered hopper look faded and dirty. He moved the airbrush in vertical strokes, keeping it parallel with the exterior posts.

Fig. 2 Reverse weathering. With the paint still fresh, Cody used a cotton swab dipped in Windex to remove the weathering coat from the face of each exterior post. Do this carefully so the swab doesn’t remove paint from the body panels.

Fig. 3 They call it the streak. Though the sides of cars are the most visible, don’t forget to weather the ends. Cody added oil and grease streaks to the slope sheets of this covered hopper with thinned Polly Scale Steam Power Black. The two streaks should be vertical and parallel to each other. The spacing should match the gauge of the wheels.

AirbrushAcrylic paints

1 Airbrush

Move airbrush parallel to exterior posts

Cotton swab dipped in Windex

Space betweenstreaks matcheswheel gauge


Artists’ oils make it easy to apply weathering washes and simulate rust patches, which I did on this HO scale ExactRail boxcar.

First, I put some burnt umber on each body panel and on the door. Then, as shown in fig. 1, I touched the paint with a 1⁄2"-wide paintbrush soaked with Turpenoid (an odorless turpentine substitute). I pulled the thinned paint straight down the car side, keeping the brush parallel to the exterior posts.

After letting the burnt umber wash dry for two hours, I shifted my atten-tion to the exterior posts to the right of the door. When studying prototype photos, I noticed these posts had rust patches where the door had rubbed against them. To simulate this, I first applied blotches of burnt umber, as seen in the left photo in fig. 2. Then I applied burnt sienna over the burnt umber, leaving a slight halo of the latter color, as shown in the right photo.

I used the same techniques to weather the roof, as shown in fig. 3. After the paint had dried, I thought the burnt umber and sienna looked too vibrant. To remedy this, I applied a burnt umber wash, which not only toned down the rust patches but muted the bright silver as well. To reduce the chances of removing the rust patches, I applied the wash in a light, almost blotting, motion.

Artists’ oils dry slowly, so take your time and be patient. If you don’t like how the weathering looks, wipe the paint off with some Turpenoid and try again. This technique is very forgiving.

Fig. 1 Basic wash. Cody used Turpenoid and burnt umber oil paint to give the boxcar a weathering wash. He kept the brush parallel with the exterior posts.

Fig. 2 Door dings. After applying the burnt sienna and letting it dry (left), Cody brushed on the burnt umber. He left a halo of burnt sienna to simulate fresh rust.

Fig. 3 Rusty roof. After adding rust patches with burnt umber and burnt sienna, Cody applied a wash of the latter color to the entire roof.

2 Artists’ oils

Turpenoid

Keep brushparallel toexterior posts

Burnt sienna

Leave haloof burnt sienna

Burnt siennaBurnt umber

Paintbrushes

Mixing dish

Artists’ oils


Powdered pastels have long been a popular choice for weathering locomo-tives, freight cars, and buildings. There are several firms that offer ready-to-use weathering powders, or you can make your own by scraping pastel sticks with a hobby knife.

I started work on this N scale Micro-Trains boxcar by spraying the entire car with Model Master Luster-less Flat. The flat finish gives the pastels a bit of tooth to bind to.

After the flat finish dried, I began applying MIG Productions Cargo Dust to the weld seams. My hands aren’t steady enough to apply the pigment in a straight line, so I used Post-it notes to mask the seams, as seen in fig. 1.

When I removed the masks, I found the pastels made the weld seams look too thick. I corrected this by wiping off some of the pastels with a damp cotton swab. Figure 2 shows how I pulled the cotton swab straight down from top to bottom until the streak was more subtle. After I finished all of the weld seams, I sprayed the car with another coat of Lusterless Flat.

To simulated faded lettering, I used a Microbrush to apply PanPastel Titanium White artists’ pastels to the bottom of the Burlington lettering. Then, using a Sofft flat sponge bar applicator, I pulled the pastels straight down so the lettering looks chalked and streaked, as shown in fig. 3.

Figure 4 shows how I weathered the truck springs with PanPastel Burnt Sienna. I used the same firm’s Raw Umber and a Sofft applicator to weather the car roof and ends.

Fig. 1 Weld seams. To accentuate the weld seams, Cody masked them with Post-it notes and applied MIG Productions Cargo Dust pigment with a brush.

Fig. 2 Too much. Cody thought the pigments made the weld seams look too thick. He removed most of the pigment with a damp cotton swab.

Fig. 3 Fade out. Pastels and a foam sponge make it easy to fade lettering.

Fig. 4 Little things. Cody highlighted the springs with Burnt Sienna pastels.

3 Powder pastels

Paintbrush

Post-it notes

Paintbrush

Foam applicator

PanPastel artists’ pastels

Lusterless flat

Microbrush

Cotton swab

MIG Productions pigment

Post-it note

Dampcotton swab

Foamapplicator

Burnt sienna


Drybrushing is probably the easiest of the five weathering techniques cov-ered in this article. I’ve used this tech-nique for years on structure roofs, such as this HO scale motor car/work shed produced for the Northern Pacific Ry. Historical Society (www.nprha.org). However, I’ve also used drybrush-ing successfully to weather locomotive truck sideframes (covered in the April 2010 issue of Model Railroader) and on freight car roofs.

To drybrush, simply pick up a little paint on a brush, remove all but a trace amount, and gently brush it over the model. For example, I wanted to make the simulated tarpaper roof on the shed look faded. After preparing a brush with Polly Scale L&N Gray, I began drybrushing. You’ll notice in fig. 1 that I’m keeping the brush-strokes parallel to the seams in the roofing material. Avoid wavy lines or those that don’t follow natural con-tours of the model.

But fading roofing material isn’t the only effect you can use drybrushing for. In fig. 2, you can see how I added rust streaks to the base of the vent pipe. The rust from this pipe is washed down by rain, so the streaks should be vertical, as water flows.

Depending on the size of the model, you may need to reload your brush several times. Before committing your brush to the model, test it on an index card or paper towel. Even though the brush may look largely void of paint, there may be some hiding in the interi-or bristles. I’ve learned this lesson the hard way on a few models.

Fig. 1 Faded tarpaper. After removing all but a trace amount of Polly Scale L&N Gray from the brush, Cody began drybrushing the roof on this building. He kept the brushstrokes parallel to the seams in the roofing material.

Fig. 2 Rusty pipes. Vent pipes and other rooftop items can often discolor roofing material. Cody used Polly Scale Rust to add streaks at the base of this vent pipe. He kept the streaks vertical, as water flows.

4 Drybrushing

Paintbrush

Paper towel

Acrylic paint

Keep brush parallel with seams

Rust streaks should be vertical, as water flows


When I asked my wife if we could walk through the cosmetic department at the local drugstore, she gave me a somewhat puzzled look. However, this part of the store is home to some fantastic weathering tools, including foam-tipped cosmetic applicators. I used the applicators shown above to simulate rust and paint wear on this Athearn HO scale BNSF Ry. SW1000 diesel locomotive.

I started by spraying the entire model with the same thinned Polly Scale Reefer White described on page 28. Since I needed to decal the model, I applied the same firm’s Clear Gloss. Once the locomotive was relettered, I sprayed the model with Clear Satin.

With the prep work out of the way, I brought out the cosmetic applicators. First, I dipped an applicator in Polly Scale Rust and blotted off most of the color on a paper towel, similar to drybrushing. Then I gently pressed the applicator to model, slowly building up the color. Once the Rust dried, I used the same method to apply Railroad Tie Brown, seen in fig. 1. As with the artists’ oils, I left a thin halo of the first color to suggest fresh rust.

When studying prototype photos of BNSF 3612, I noticed the locomotive had splotchy patches of grime on the sills. Polly Scale Railroad Tie Brown and a cosmetic applicator was the perfect recipe for re-creating this look on the model, as shown in fig. 2.

You could also use this technique to add grime to the front and rear pilots of a locomotive or soot stains on the exhaust stack.

Fig. 1 Rust patches. Cody blotted off most of the Polly Scale Rust on a paper towel before gently pressing the applicator to the roof of the switcher. He used the same technique, but with Railroad Tie Brown, to simulate darker rust.

Fig. 2 Sill grime. The full-size switcher had grime on its sills, and Cody re-created that look with Railroad Tie Brown and a cosmetic applicator. He set the applicator on the edge of the sill and slowly rocked it forward.

5 Cosmetic applicators

Cosmetic applicators

Acrylic paint

Polly Scale Rust

Polly Scale Rust

Polly Scale Railroad Tie Brown

Halo of first color

Grime on sill

• Add Digital Command Control to a layout• DCC terms you need to know • How to wire a layout for digital control

Basics of DCC Programming

GUIDE

7

By Mike Polsgrove


Those of you new to Digital Com-mand Control (DCC), and even those who have a pretty good grasp on the basics, may benefit from a review of DCC terminology. We’ll take a look at some of the commonly used terms and their definitions.

I’ve divided the terminology into five categories. Items listed in italic type are cross referenced.

SystemsBlock: An electrically isolated section of track. This term is most often used in wiring DC layouts. On model railroads with DCC, it can be used for signaling or power districts.Booster: A DCC booster is connected to the track. It “boosts” the DCC signal from a command station to an electrical level (voltage and current) able to power locomotives and lineside accessories. Most systems accommodate multiple boosters to supply additional current needed for larger layouts.Cab (or throttle): An operator uses a cab to control locomotives and wayside accessories. It’s often a handheld walkaround style, but it can also be combined with other components and operated as a fixed cab.Cab address: Some DCC systems require that cabs plugged into a bus have a unique identifier, called a cab address.

Cab bus: A cable run around the layout into which tethered cabs or other devices are plugged.Command control: A method for controlling multiple trains on a single track. It can be analog but is most often digital. Command station: The brains of a DCC system. It takes commands from various cabs and converts them to DCC packets to be increased by a booster. It can also keep track of consists and macros.Control bus: A separate cable that runs between the command station and all the boosters. Some systems combine the con-trol bus with the cab bus.Digital Command Control (DCC): A command control system that uses the National Model Railroad Association (NMRA) standard digital packets to communicate through the track to a decoder.Fixed cab: A cab integrated into another DCC system component, usually a command station.Occupancy detection: Used to deter-mine if locomotives or cars occupy a sec-tion of track. There are a number of ways to do this, including several specialized DCC products.Packet: A series of bits used to create a standard DCC command.Power district: An electrically isolated section of track controlled by its own

DCC booster. Sometimes sections isolated by DCC circuit breakers are referred to as power districts.Track bus (or power bus): Two or more heavy gauge wires carrying power from the boosters to the track. It can also be used to power accessory decoders or layout lighting.Walkaround cab. A tethered DCC cab. An operator can follow a train around the layout by plugging in the cab at vari-ous panels along the layout that are con-nected to the cab bus.Wireless cab: A handheld cab that uses either radio or infrared light to communicate to the command station.

DecodersAccessory (stationary) decoder: A specialized type of decoder that’s gener-ally used to control lineside accessories such as turnouts, lighting, animation, and signals. Address: Every decoder requires a unique identifier called an address. In the case of a mobile decoder, there are two different kinds of addresses – a short address (sometimes referred to as a two-digit address) and a long address (some-times referred to as a four-digit address). Only one address can be active in a sin-gle decoder at a time. Decoder: A small computer that responds to DCC packets. Mobile decod-

Digital Command Control terms you should know

Resistors

Track feeder wire

Command station

Power supply

Walkaround cab

Decoders

Walkaround cab

Ammeter

Wireless cab

Sends input

Digital signal

Digital signaland power torun train

Decoder-equipped locomotive responds

Commandstation

Cab

Booster andpower supply


ers, also known as locomotive decoders, are installed in locomotives and can con-trol the motor, lighting, and sound effects. Accessory (stationary) decoders are in-stalled on the layout to control turnouts, lighting, animation, and signals.Function buttons: Buttons on a DCC cab that are used to control the decoder’s actions. They’re generally referred to as F0, F1, F2, etc.Function mapping: The method of assigning which button controls which function output or sound effect. This is done by programming configuration variables (CVs) in a decoder.Function outputs: Wires on a decoder that power decoder lighting or other accessories.

Building locomotive consistsConsist: Two or more locomotives operated as one unit. There are several ways to accomplish this. All the locomo-tives can be programmed to the same lo-comotive address, or the command sta-tion can be programmed to send individual packets to each locomotive from one cab command. Advanced con-sisting uses a special decoder CV tempo-rarily programmed to a consist address. In advanced consisting, the command station sends out one packet and all the locomo-tives programmed to that consist respond.Speed matching: A method of cus-tomizing a locomotive’s performance so that models from different manufactur-ers will operate smoothly together. This is accomplished through CVs.

ProgrammingConfiguration variables (CVs): Memory locations in a DCC decoder that customize its performance. In some sys-tems, DCC cabs program them. Many systems allow for computer programming, too. Configuration variables remain programmed even if power is removed. Some decoders can be programmed only on a programming track; others allow operations mode programming.Momentum: A way of simulating pro-totype train performance by slowing the locomotive’s rate of speed change. It’s controlled by CVs in the decoder.Operations mode programming: A method of programming CVs on the main line of a layout. Sometimes this is called programming on the main. Not all decoders or DCC systems support operations mode programming.Macro: A set of DCC commands that trigger a sequence of decoder functions or several decoders simultaneously. Programming track: An isolated sec-

tion of track that’s connected to the pro-gramming terminals of a DCC system. It’s used to program CVs of a decoder. Unlike operations mode programming, all decoders on the programming track get programmed at the same time. This is usually not desirable. Most of the time, CVs can also be read back while the decoder is on the programming track. Certain accessory decoders can’t be programmed on a programming track.Speed step: A setting on a DCC cab that controls the speed of a locomotive. There are 14, 28, or 128 speed steps in a DCC system. Most systems allow either 28 or 128 speed steps. Speed table: A set of CVs used to con-trol the speed of a locomotive’s motor at each speed step.

Electrical tools and termsAlternating Current (AC): Electrical current that regularly reverses direc-tions. The DCC signal to the track is considered alternating current; however, it isn’t like household AC power and may be difficult to accurately measure with conventional meters.Ammeter: A device to measure electri-cal current. It must be placed in series with the circuit to make a measurement. In DCC, it can be used to measure the current draw of a locomotive to help determine what decoder to install. Ampere or amp (A): A unit of mea-surement for electrical current. Digital Command Control boosters are often rated by the number of amps they can supply to the track. The more amps they can supply, the more engines and accesso-ries they can power simultaneously.Automatic reversing (or auto reverser): A specialized DCC circuit that automatically reverses track polarity when it senses a short circuit. These are often

used for wiring reversing loops, wyes, and turntables. Auto reversers can be built into boosters or circuit breakers.Bit: The smallest unit of digital data, with a value of 1 or 0.Byte: Eight bits.Circuit: A path for electrical current. Most devices are connected to a circuit in parallel, series, or a combination of both.Circuit breaker: A specialized circuit that shuts down power to a section of track if there is an electrical short.Direct current (DC): A type of electrical current that flows only in one direction.Power supply: A circuit that converts household AC into low-voltage DC to power a DCC system or accessory.Pulse width modulation (PWM): How DCC decoders control a locomo-tive’s motor speed. A series of full volt-age pulses are sent to the motor. The lon-ger in time the pulses are (the width), the faster the motor spins. Another form of PWM is used in a DCC packet to differ-entiate between a 1 bit and a 0 bit.Rectifier: An electrical device made from one or more diodes that converts AC into DC.Resistor: An electrical device that resists the flow of current. In DCC, it’s commonly used when installing lighting in a locomotive. It either drops the volt-age of a function output to match the requirements of light bulbs or limits the current of a function output when using light-emitting diodes.Track feeders: Small gauge wires between the track bus and the rails.Transformer: A component that increases or decreases the voltage in an AC circuit. It can also be used to isolate one circuit from another. In DCC, transformers are generally used to power DCC systems that use an AC input.

The cab, command station, booster, and decoder are the four basic parts to every Digital Command Control system. Rick Johnson illustration


Adding Digital Command Control to a model railroad is a straightforward task, especially on a compact layout like our 5 x 8 foot Rice Harbor HO scale project layout (see the January 2014 issue of Model Railroader). For this applica-tion we selected an MRC Prodigy Ad-vance Squared set, no. 0001414. The set comes complete with a walkaround cab (handheld throttle), a 3½-amp power supply, and a command station (DCC base unit). The components are all pack-aged together in a box, and they’re all you need to start operating your layout in DCC – along with a DCC-equipped locomotive, of course.

What’s in the box? The Model Rectifi-er Corporation walkaround cab has a se-ries of buttons used to select and control individual DCC locomotives plus a screen that gives the user an at-a-glance readout of input commands.

The command station receives infor-mation from the cab and sends it to the rails and ultimately to the DCC

decoders inside your locomotives, which translate the commands.

The power supply provides electricity for the system. Most DCC starter sets contain the same components.

All three MRC components are con-nected to each other by cables that are supplied with the set.

The cab uses a cable known as a cab bus that connects it to one of the phone-jack style sockets on the front of the command station. The command station connects to the power supply with its own cable, and the power supply plugs into a wall outlet. MRC and other manu-facturers also sell wireless cabs that em-ploy radio signals to communicate with the command station instead of being tethered to the layout by a cable.

The 3½-amp power rating on our MRC set is good for about five DCC locomotives running at the same time, each equipped with sound systems. Sound-equipped locomotives draw roughly twice as much current as non-sound locomotives, so you can run more

locomotives simultaneously if they don’t have DCC sound systems.

Our 5 x 8 Rice Harbor layout has only two sound-equipped locomotives, so the system’s power output is more than suffi-cient. If this were a larger layout with more locomotives we would need to divide the layout into power districts, but that’s a DCC topic for another time.

Sockets in the fascia. By nature, our staff can never use anything as it comes out of the box. Typically, a DCC com-mand station would be installed on a shelf below a layout’s fascia, within easy reach of operators. We wanted a cleaner appearance on the Rice Harbor layout, so we mounted the command station and power supply beneath the layout behind the fascia, held to one of the L-girder joists with cable ties. Although the command station has an on-off switch, we decided we would turn off the layout by unplugging it from the wall.

Some brands of DCC starter sets fea-ture cab controls built into the com-

How to install basic Digital Command Control

Here’s a starter DCC set (left to right): the command station, the cab, and the power supply. Cables connect the three components. Model Rectifier Corp. photo

By Neil Besougloff

Track power buses

14AWG solid copper wireScrew eyes support buses

26AWG feeder wires every three feet

North bus

South bus

Solder feederwires to rail


mand station, as if the cab and com-mand station in the photo to the left were one piece. Mounting a fixed-cab command station, such as the Digitrax Zephyr Xtra starter set, underneath our Rice Harbor layout wouldn’t make sense.

Once we tucked the MRC command station underneath the layout, we needed somewhere to plug in our walkaround cab. Separately we purchased two MRC Prodigy Advanced Extension Plates (no. 0015001) and extension cables (they look like beefy phone extension cords) to connect the plates to the command sta-tion. Each plate has two sockets. One plate was mounted on the left side of the Rice Harbor layout and the other on the right side. While this might sound like things are becoming complicated, it’s no more involved than using extension cords for floor lamps in your living room.

Using the pair of extension plates, we can walk around our layout plugging in and unplugging the cab as needed to fol-low a train.

The MRC Prodigy Squared system can communicate with up to 99 cabs. We’ll never need that many for this lay-out, but we have sockets for up to four walkaround cabs, more than plenty for a layout of this size.

Wiring. Whether DCC or DC, all layout wiring starts with two wires, one for each rail. For our Rice Harbor layout, we wanted to make sure that each of those rails had a continuous and reliable source of power and DCC signal. To achieve that, we installed two sets of color-coded 16 gauge bus lines running the length of each side of the layout. (If you recall, the layout can be broken into two halves to form an L-shape; normally, you wouldn’t need dual bus lines.) Color-coded feeders are soldered to the rails about every two feet and on both ends of the turnouts. The feeders connect to their appropriate bus lines with insula-tion displacement connectors, also known as suitcase connectors.

To join the two halves of the Rice Harbor layout electrically, we left some slack at the end of bus lines running below each section and used a plug and socket manufactured by Ideal and sold at The Home Depot to join the wires.

The bus lines terminated at the back panel of the DCC command station.

Read the instructions. Being a guy, I tend to skip reading the instruction booklet. You’ll be better off if you don’t do that with a DCC system. The instruc-tion booklet contains information about

getting started, including assigning a number to your walkaround cab and some basics of programming a DCC locomotive decoder.

The booklet also contains informa-tion about using a programming track or using your main line to program your DCC locomotives, should you wish to change your locomotives’ address num-bers or change any performance parameters, known as Configuration Variables (CVs). Note that with the MRC base unit, there is a second set of power terminals for a programming track. We didn’t need to use them since we already have a separate programming track in our workshop. Some DCC locomotives benefit from the use of a programming track; with others programming on the main line is fine.

The MRC instruction booklet doesn’t go into great depth concerning program-ing locomotives. There’s just enough information to get your trains up and running. Information to fine-tune loco-motive performance is associated with

the locomotive’s decoder, and is general-ly found in the decoder instructions.

No fear. It isn’t difficult to install any manufacturers’ DCC system on a model railroad. In an era of smart phones, au-tomobile navigation systems, and HD cable TV, systems like the MRC begin-ner set or those from Digitrax, NCE, ESU, CVP Products, Lenz, Bachmann, and others are nothing to be feared.

Even a small layout like our Rice Harbor project benefits form the use of DCC. The blue box at left connects to the DCC system and controls a turntable.

• Choosing the right tools makes work easier• Most are designed to deal with small parts• Gauges keep your railroad running smoothly

Modeler’sMust-haveTools

GUIDE

8


Needlenose pliers are among the most versatile tools used by model railroaders. You can use them to hold small parts, bend wire and sheet metal, extract screws from hard to reach places, and spike down track. There are five types of pliers that I use most often:

• Normal size (5" to 6") long-nose pliers with an integral wire cutter and molded plastic grips over the handles

• Miniature (3") needlenose pliers with a wire cutter and plastic grips

• Bent-nose pliers to reach and work in tight spaces where straight long-nose pliers are awkward

• Slip-joint pliers with adjustable jaws for larger holding jobs

• Irwin Vise-Grip locking pliers, useful as clamps and to hold nuts in place while tightening bolts used in layout construction.

Most people have at least a passing acquaintance with screwdrivers, and terms such "straight blade" and "Phillips" are quite familiar. Miniature screwdrivers are essential for building or repairing loco-motives and rolling stock. They’re sold in sets of five or six different individual screwdrivers, as shown in the photo below, or as a handle with a chuck that holds any one of an assortment of blades. Both types usually come in a plastic case. Return small screwdrivers to their case after each use, so they won’t be misplaced.

Special screwdrivers are available whose blades expand to hold a screw by the slot in its head. The screw can then be started several turns into a threaded hole before you remove the special blade and finish tightening it with a normal screwdriver.

Standard screwdrivers will also be needed. Two different sizes of Phillips screwdrivers (sizes P1 and P2), and 3⁄16" and ¼" straight-blade screwdrivers will cover most layout construction and wiring jobs. A cordless drill or screwdriver will speed up construction.

I divide tools used by model railroaders into two categories: basic tools that are useful to every mod-eler, and advanced tools that would be in any mod-eler’s dream workshop. We’ll talk about the basic tools and supplies, plus gauges that will help keep your track and rolling stock running smoothly.

The tools and supplies described here are com-monly found on most modelers’ workbenches. However, you don’t need to run out and purchase all these tools at once. Acquire them over time, as you find a need for them and as you gain experience in the hobby. The box on page 41 lists places where you can get these tools and supplies.

Many tools play dual roles as you build models and become more familiar with the hobby. This ex-perience will help you choose exactly what tools you need. Good tools last a long time, so I always try to get the best quality I can afford.

A set of small screwdrivers makes it easy to use the proper size to avoid damaging the heads on the tiny screws used in model trains.

The model railroader’s workshopTools and supplies every model railroader should own

By John Pryke • Photos by Bill Zuback

Pliers

Screwdrivers


Cutting pliers are useful for wiring and cutting rail. Two specialized cutters are essential for model railroaders.

Small wire cutters with a rounded or pointed nose are for cutting small electric wire and trimming soft metal or plastic parts from sprues.

Rail nippers have specially ground blades designed to cut pieces of soft metal rail and track, including nickel-silver rail up to code 100. You can also use a dedicated pair to trim large parts off plastic sprues.

Jeweler’s files are made in 4" and 7" lengths and come in sets that include a variety of cross-sections (flat, round, triangular, square, and combinations). These small files are handy for cleaning up metal and plastic parts. An 8"-long flat file will smooth turnout and plastic kit parts, while a large bastard file is useful during general layout construction.

Most modelers eventually acquire all of these files, including sets of both sizes of jeweler’s files. Veteran modelers often reserve a set of files just for work on plastic to prevent gouges from metal chips stuck in the files.

In addition to an adjustable wrench and automotive-size socket wrenches for layout construction, a set of miniature socket wrenches is invaluable.

Hex head machine screws, available in sizes from no. 00 to no. 2, are used to hold together steam locomotive side rods, coupler draft gear, and a variety of other small parts. HO crankpin screws are almost universally 0-80. A socket wrench is the only tool that can easily remove and tighten these screws without deforming the head. A set of four hex wrenches (nos. 00, 0, 1, and 2) will cover most of the common model sizes.

Modeling knives consist of a metal or composite metal and plastic handle with a built-in chuck that grips replaceable razor-sharp blades of different shapes. They come in three different handle sizes, includ-ing ¼", ½", and ¾" diameters. A wide variety of blades is available, including angled and chisel knife blades, saws, gouges, and others.

Long, sharply pointed no. 11 blades are used to cut strip and sheet wood, and styrene sheet, strip, and structural shapes. Use the back of the sharp point of these blades to score styrene on the first pass. This removes material on each pass instead of just forcing it aside. Then cut completely through on the second pass.

Many other angled and curved-edge blades are made to shape wood and plastic, while chisel blades have their cutting edge across the end to chop strips into shorter pieces. These chisel blades are handy for separating plastic parts from casting sprues.

Other special-purpose blades are made to fit the various knife handles. Fine-tooth razor saw blades fit into the large handles to make precise cuts in thick materials. Half-round or V-shaped gouge blades are handy for cutting grooves.

NorthWest Short Line (NWSL) sells a specialized tool called the Chopper that uses razor blades for precision cutting of strip materials. The Chopper has a hinged metal lever with a razor blade that makes square, vertical cuts. A back fence is positioned at right angles to the blade so strips may be cut with perfect square ends. When used with the guides that come with the tool, the Chopper can be set to make repetitive cuts at 30, 45, 60, or 90 degrees.

Specialty tools like these rail nippers make it easy to cut and fit a piece of track.

A set of small sockets makes maintenance work easier and prevents damage to the hex-head side rod screws.

Files

Cutters

Knives

Wrenches

Your local hobby shop. This gives you a chance to look at each tool before you buy it.

Mail order. These suppliers can be easily located by checking the ads in Model Rail-roader. Two of the largest mail order firms are Micro-Mark at 340 Snyder Avenue, Berkeley Heights, NJ 07922-1595, www.micromark.com; and William K. Walthers Inc., 5601 W. Florist Ave., Milwaukee, WI 53218-1622, www.walthers.com.

Internet. Many tool distributors have their own websites, which is a good way to locate specialized tools.

Hobby shows. Most hobby shows include vendors who carry tools. As with the local hobby shop, this gives you a chance to look before you purchase, even though you won’t be able to get the advice that your local hobby dealer can provide. – J.P.

WHERE TO GET MODELING TOOLS


There are a number of specialized tools unique to our hobby that should be on every modeler’s workbench.

Conformance to National Model Railroad Association standards is checked with a sheet-metal gauge. Gauges offered in N, HO, HOn3, and O scales have notches and pins around the perimeter to measure track gauge, the spacing of frog guardrails, wheel gauge, and wheel-tread width. The HO and N gauges also measure clearances.

Kadee’s HO scale (it’s also made in other scales) coupler height gauge is a metal casting with measuring surfaces to check the cou-plers for proper height and uncoupling pin adjustment. See the bottom photo. Kadee makes similar gauges for the larger scales, and Micro-Trains offers one for N scale.

A three-point track gauge can slide along the track to measure the distance between the rails. If you use prefabricated track, the three-

point gauge is excellent for detecting kinks in the rails in or near a curve. These gauges are made for three different HO rail sizes – Codes 100, 83, and 70 – and in all of the other scales.

Sliding track gauges mea-sure the distance between the running rails, and they’re made in straight and a wide range of curve radii. If you use prefab track, you fit the gauge between the rails and slide it along to make sure the curve maintains a continuous specific radius from end to end.

A multimeter is a handheld multiple-function device that measures a variety of electrical characteristics. A multiple-position switch allows the user to select the type of measurement desired to troubleshoot electrical circuits. Multimeters are made with either analog dials or with digital readouts, which make the measurements easier to read.

Paintbrushes are necessary to finish models and touch up paint on locomotives and rolling stock. Small paintbrushes are ideal for applying liquid plastic cement.

Use good quality paintbrushes that are for use with acrylic and oil paints, as they’re made to withstand the paint solvents.

Fine-tip brushes (nos. 5/0 to 0) are ideal for painting details and touching up small areas. Medium brushes (nos. 1 to 4) are for painting larger detail parts or adding dry-brushed weathering on cars and locomotives. Large brushes (nos. 5 to 8) are for best for painting structures, cars, and scenic details.

Modelers enjoy an array of adhesives that simplify modeling tasks. When available, pur-chase them in bottles with an applicator brush attached to the cap rather than in a tube. Apply-ing cement with a brush provides better control to apply the adhesive exactly where you need it. The most common modeling adhesives are:

Liquid plastic cements• Cement for styrene• Cement for ABS (or general purpose plastic cement)• Fast-setting plastic solvent cement

Wood glues• White glue (such as Elmer’s)• Extra strong yellow wood glue (such as Titebond II)

Cyanoacrylate adhesives (CA) will bond most dissimilar materials

• Thin CA will bond smooth, nonporous materials• Thick gap-filling CA bonds wood and other porous materials• CA accelerator is a catalyst to speed the curing of CA to make an instant bond

Contact cement is a liquid adhesive that’s applied to both surfaces and allowed to dry. After a few minutes of drying time, the pieces are brought together and clamped to create an almost instant bond, including between dissimi-lar materials. Walthers Goo is a popular brand in the hobby.

The NMRA standards gauge has notches and pins that help fine-tune your track and wheels.

Kadee’s die-cast HO coupler height gauge is also useful as a three-point track gauge.

AdhesivesPaintbrushes

Specialized tools

Though you may not be scratchbuilding or repairing brass models, some soldering is necessary as you construct a layout. The reliability of your track feeders, controls, and wiring depends upon good connec-tions. Soldering is the best way to make solid connections.

Start with a small 30-watt pencil soldering iron. Look for one that comes with a stand and a long, replaceable copper point that screws into the heating element. Its primary use is for electronic work where its smaller size helps prevent overheating of sensitive components.

A 100/140-watt dual-heat soldering gun delivers a lot of heat for larger jobs. It’s the soldering device of choice when working with track, including soldering new feeder wires to the rails.

Plastic-compatible lubricants must be used on plastic models since some petroleum-based lubricants will damage plastic parts. Most lubricants are sold individually or in assortments.

You’ll need a very light oil to lubricate locomotive motor and gearbox bearings, as well as some car axle bearings. Hob-E-Lube HL653 and Labelle no. 8 are two popular brands.

Use a slightly heaver oil, like Hob-E-Lube HL655 or Labelle no. 7, to lubricate locomotive gears and axle bearings.

White Teflon gear grease is a special super-slippery mixture of white grease and finely powdered Teflon that's ideal for lubricating locomotive gears.

Powdered graphite is a dry lubricant that you puff from a flexible tube into coupler boxes to improve the centering action and operation of the coupler.

Small nos. 60 through 80 drill bits are available in either rectangu-lar or round cases marked with the bit sizes. These bits cover most modeling needs, and the cases keep the tiny drill bits organized so you can identify the different sizes as you need them.

To work with these tiny drill bits you’ll need a pin vise. Many types are readily available, but one of the most common is shown here. It contains a set of four collets (stored in the pin vise’s handle), which can be used in the chuck to handle bits from the tiny no. 80 (.014") to 1⁄8" (.125") diameter. A second type has a single adjustable chuck with a wooden ball handle on the opposite end. With any pin vise, it’s important to be gentle with the downward pressure; the small drill bits can’t take much force.

A set of drill bits from 1⁄16" to ½" in diameter is necessary for general layout construction. They’re best used with a full-size reversible cordless drill.

There are a number of other items useful to model railroaders.

A foam cradle, shown below, protects the model’s finish while it securely holds a locomo-tive or car upside down for underbody mainte-nance or wheel cleaning.

Flexible test leads with alligator clips are handy for a variety of benchtop electrical tests.

Contact cleaner does a good job of removing dirt and corrosion from electrical contact points.

It’s best to keep sets of small drill bits in their cases to keep them organized. The pin vise has four collets to hold these tiny bits.

A new feeder wire is soldered in place using a soldering gun that’s capable of simultaneously heating the rail and the wire to make a good connection.

A foam cradle prevents damage to a car or locomotive’s finish or fine details as it’s held upside-down for routine maintenance.

A drop of light oil is all that’s required on each motor bearing to maintain this HO model’s performance.

Drill bits and pin vises

Lubricants

Soldering Miscellaneous

• Get ideas from 3 compact track plans• Build with layout expansion in mind• Find a layout design to fit your room or space

Track PlanDesigns

GUIDE

9


MR’s staff offers three different approaches to railroading in small spaces

Several years ago, the Model Railroader staff was given the challenge to come up with eight interesting 4 x 8 track plans, the results of which were printed in our February and March 2011 issues.

Though creating those eight O, HO, and N scale plans was fun and the plans were well received, we decided to branch out. Rather than stick to the 4 x 8 format, the staff was asked to design a model railroad to fit a 150-square-foot space. That space could be a 10 x 15-foot spare room, an 8-foot-wide stall in an 18-foot-long garage, a 5-foot-wide space along a 30-foot basement wall, or anything in between.

What resulted was a variety of approaches, at least one of which is sure to give you ideas. While I designed a set of Texas-themed oNeTRAK modules that plug into the sides of a “home base” layout, editor Neil Besougloff found inspiration for his modern HO scale 4 x 8 in our archives. Senior editor Dana Kawala went around-the-walls with his transition-era New York Central branch line for a 10 x 15 room. Whatever your scale, space, or prototype, there’s something here for you.

By Steven Otte

I’ll admit it, I have a thing for steam-powered short lines. Let others run their Empire Builders and Challengers and Super Chiefs; I’d rather be behind the throttle of a Consolidation pulling an eight-car peddler. Those name trains may have the glamor, but I prefer to model the days when every road with “Pacific” in its name could dream of someday reaching that goal.

One such little railroad with big dreams was the Acme, Red River & Northern, founded in 1903 to serve a pair of gypsum plaster plants in Acme, Texas. The other end of the railroad

was a wye connection with the Fort Worth & Denver at Quanah, six miles east of Acme. To convince Texas authorities to grant it common-carrier status, the road changed its name to Quanah, Acme & Pacific and drew up plans to build westward, with the eventual goal of the Rio Grande River at El Paso, Texas.

Though it never got that far, the Quanah’s potential to open up the largely unserved Texas panhandle drew the attention of the St. Louis-San Francisco, which bought the short line in 1911. This track plan is set in early

1929, after the Quanah finally reached a junction with the Atchison, Topeka & Santa Fe in Floydada, Texas. This added bridge traffic to the Quanah’s mix of short local freights and mail-express trains. After reaching Floydada, the line also added its own prestige streamlined train, The Plainsman, to supplement its mixed-train and motor-car passenger service.

I had two goals for this track plan. The first was to represent two impor-tant towns on the route as oNeTRAK modules, a format well suited for a single-track, flatland road like the

The Quanah, Acme & Pacific: Four oNeTRAK modules plus more

Small can be beautiful and full of action when it comes to track plans. This photo was shot on a 3 x 7 N scale layout.

3 Compact track plans

Name: Quanah, Acme & PacificScale: N (1:160)Size: 5'-9" x 11'-0"Prototype: Frisco subsidiaryLocale: North TexasEra: early 1929Style: donut with oNeTRAK modulesMainline run: 46 feetMinimum radius: 11"Minimum turnout: no. 5Maximum grade: none

THE TRACK PLAN AT A GLANCE


Staging

22.5-degree crossing

Canyon

Water

Storefront flats

Combinationdepot

Cotton compressor

Paducah

Loading platform

Team track

Stock pens

Coal dealer

Trestle over dry wash

Gypsum pits Engine shed Acme Plaster Co.

Groesbeck Creek

Enginehouse Team track

Lumberyard

Hotel

Grain elevator

Backdrop

Quanah

Acme

Homes

Home

Freight house

Passenger platform

Station and railroad headquarters

Motor car shed

Coal and water

Wye turnoutContinuous operation cutoff

N scale (1:160)Layout size: 5'-8"x 11'-0"Scale of plan: 3⁄4" = 1'-0", 12" gridIllustration by Jay SmithFind more plans online in the ModelRailroader.com Track Plan Database.

Quanah, Acme & Pacific

Quanah. My second goal was to devise a home layout into which these modules could be plugged, providing additional industries, a continuous run loop, and sufficient hidden staging to model the Frisco-to-Santa Fe bridge traffic in a convincing manner.

Each side of the donut-shaped track plan includes two four-foot-long oNeTRAK modules, though each set is intended to always be operated together, separating only for transport.

Since it’s not easy to find prototype track diagrams for the Quanah, this layout is more freelanced than proto-typical. I did get some ideas from Google Maps, though. The stations shown here, as well as the Paducah freight ramp and the industry there that I labeled as a cotton compressor, are still visible in Street View.

The plaster plant at Acme, the largest industry on the layout, includes basic support structures for a dedi-cated switcher, though they could be replaced with more car storage tracks. In addition to this factory, Quanah and Paducah have a mix of the industries that provided the region’s lifeblood, including cotton, cattle, and wheat.

A typical operating session could start with bringing a Frisco train in from staging and breaking it down into cars intended for Quanah, those slated for industries down the line, and bridge traffic for Floydada. The daily local could then set off for Acme and Paducah, while the Quanah operator delivers local cars. If a third operator is available, he could complicate things by running a motor-car passenger local or The Plainsman.

After switching Acme and Paducah, the local would head into staging. Another train, hauling cars from the Santa Fe, could then head back up the line toward Quanah. – Steven Otte

Name: Wolverine JunctionScale: HO (1:87.1)Room size: 10 x 15 feetPrototype: freelanced, inspired by Michigan Central RR’s Bay City BranchLocale: southeastern MichiganEra: 1955

Style: around-the-walls with peninsulaMinimum radius: 24"Mainline run: 43½ feetMinimum turnout: no. 6 (main), no. 4 (Wolverine Short Line)



2"

2"

2"

1"

1"

1"

Depot

Rochester

Grain elevator

Yates Cider Mill (on backdrop)

BackdropClinton RiverFreight house

Team trackDepot

Utica

Interchange

Team track or off-spot car storageWolverine

Machine Co. Feed mill

Engine shed

Michigan CentralWolverine Short Line

Fueling standWolverine

Depot

90-degree crossing

City structures

Urban scene on backdrop

DETROIT / BAY CITY

Lift-out or drop-down entry

Wolverine JunctionHO scale (1:87.1)Scale of plan 1⁄2" = 1'-0" on a 12" gridRoom size 10 x 15 feetIllustration by Jay SmithFind more plans online in the ModelRailroader.com Track Plan Database.

As I started designing this around-the-walls track plan, my eyes kept returning to a Bachmann HO scale General Electric 45-tonner on my shelf. I like rural branch lines, especially those on the New York Central System in the transition era. However, I’m also a fan of shelf switching layouts and diminutive industrial diesels.

This freelanced track plan combines the best of both. The around-the-walls section is inspired by the Michigan Central RR’s Bay City Branch. The Bay City yard serves as visible staging for trains running in both directions. The freelanced Wolverine Short Line that interchanges with the MCRR adds extra operating fun.

Because much of the plan is on a narrow shelf, many of the structures would need to be flats or low-relief models, or structures that extend into the aisle. For example, I would model Yates Cider Mill with a prototype photo attached to the backdrop.

For the most part, train length on the Bay City Branch is limited to one locomotive, six to eight 40-foot freight cars, and a caboose. For motive power, I’d suggest an Electro-Motive Division GP7 or F unit.

Passenger operations wouldn’t take up too much space along the Bay City Branch. In the mid-1950s, the MCRR used a Budd Rail Diesel Car (RDC) to handle passenger chores on this line.

A small switcher, such as that GE 45-tonner, would work the Wolverine

Short Line’s yard, interchange, and industries. A speed limit of 20 scale mph would extend the length of the run. The WSL might also have trackage rights to one of the towns along the Bay City Branch.

Industries, scenery, and equipment could be modified to make Wolverine Junction represent a different era and locale. The plan could also be adapted to N scale for longer trains, bigger industries, and a longer main line run. – Dana Kawala

Wolverine Junction: An HO walk-in layout with a branch line

Name: South Jersey & Delaware Ry.Scale: HO (1:87.1)Size: 4 x 8 feetPrototype: Penn Central/ConrailLocale: New JerseyEra: late 1970sStyle: tabletopMainline run: 20 feetMinimum radius: 18"Minimum turnout: no. 4Maximum grade: none



Oil distributorLumberyard

Small appliance manufacturer

Electric motor company

Door factory

Hardware supply warehouse

30-degree crossing

Plastic chairfactory

“Dual industry” structure

Boarded-uppassengerstation

Team track

Small crane on platform

Building flat

Freight station

Scenic divider

Building flat

“Dual industry” structure

Staging cassette (holds 5 40-footcars)

South Jersey & Delaware Ry.HO scale (1:87.1)Scale of plan 1" = 1'-0" on a12" gridLayout size 4 x 8 feetIllustration by Jay SmithFind more plans online in the ModelRailroader.com Track Plan Database.

The South Jersey & Delaware Ry. is a 4 x 8 layout based on an HO scale track plan drawn by Don Mitchell and published in the December 1978 issue of Model Railroader. Don’s original Oakville Central plan used 15" radius curves to fit the HO scale layout in a space about 3 x 6 feet. This plan enlarges the layout to 4 x 8 feet to use 18" radius curves and fiddle cassettes that allow staged trains to be quickly swapped onto the layout.

The plan can be built with HO sectional track, although fitter pieces will be needed to align the 30-degree track diamond on the right side of the layout and three of the turnouts along the left side. The layout has no grades.

As Don noted in his story, the focus of this plan is switching small indus-tries, but a continuous loop is included "for those times when just plain running trains is the order of the day."

This plan is set in the mid-Atlantic area in the late 1970s. That era wasn’t a high point for American railroads, but it was an interesting time for rolling stock and locomotives. The end of the Penn Central in 1976 and Conrail’s rise from its ashes created a colorful mix of Eastern rolling stock that would be appropriate for this layout. Only one or two diesels would be needed.

The industries on the layout are all rail-served. I added a 24" tall central scenic divider to Don’s original plan to keep an operator from seeing both sides of the layout at once. To disguise the edges of the divider, structures wrap around each end. By applying two sets of signs, separate loading docks, and different colors of paint to structure walls, each can model two different industries.

– Neil Besougloff

The South Jersey & Delaware: A double-sided 4 x 8 in HO scale

© 2016 Kalmbach Publishing Co. This material may not be reproduced in any form without permission from the publisher. www.ModelRailroader.com

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