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Model Rail’s 8 essential tips for better scenic modelling

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How to: bring the cabs of older models to life

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Cause and effect

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HOW TO: MODEL A SHINGLE BEACH

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HOW TO: CREATE A REALISTIC EMBANKMENT

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HOW TO: MAKE A LIGHTWEIGHT BACKSCENE FROM ALUMINIUM

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Want to start scenic modelling but don’t know where to start? **Peter Marriott** offers eight essential products that will help you get the best from your layout.

  
**P**lethora is a word that is regularly used in the wrong context. How many times do you see a manufacturer proudly claiming that its new product has a “plethora of fine detail”. That means that it actually has too much fine detail.  
But it could be argued that the one area in railway modelling where plethora could be correctly applied is scenic detailing. For those of us used to this world, we can navigate our way around the seemingly endless selection of products and can argue the merits of one brand over another.  
Manufacturers keep supplying new and innovative products to the market and we’re in an advantageous position to judge how those new products will work in everyday use.  
Yet for the newcomer, the sheer array of scenic products must present a baffling and bewildering barrier.  
Now, that’s not me saying manufacturers should stop developing new products or that new manufacturers aren’t welcome to the market. Far from it. But was there a way for me to guide those new to hobby – or indeed those setting out on their first scenic modelling journeys – through the minefield?  
I pondered this while on the way home from an enjoyable – and inspirational – visit to both the Vale of Rheidol and Talyllyn Railways a few years ago. I really wanted to capture that essence of the narrow gauge, with a railway seemingly running on a ledge on a hillside, a feature common on both railways.  
Could I, while creating such a narrow gauge cene, use it as a emonstrator for my avourite scenic roducts, some new, some familiar? Well, that’s what this little scene is designed to do. Consisting of a single narrow gauge line, raised on an embankment above a footpath, with a trickle of a waterfall tumbling down the valley, the diorama has allowed me to employ a range of materials and techniques, so allowing me to share eight useful scenic tips which will hopefully help with your own modelling projects.  
  
**TIP 1** FLOWERING BUSHES

  
Flowering bushes are a good way to add dashes of colour and different textures to your layout. You can add them to hedgerows or to the lineside. The colour of the flowers can really help set the season your layout depicts.  
Busch has a range of 120mm by 80mm mats that are one of the best sources of flowering bushes. They come in several colours with the foliage up to 35mm, so are ideal for the popular scales.  
**What to buy**? Busch 3595 White Flowering Shrubs  
**Price:** £8.75  
**Availability:** Golden Valley Hobbies  
**Tel:** 01981 241237  
**Web:** _:a[wwwgoldenvalleyhobbies.com]{href='https://wwwgoldenvalleyhobbies.com' }_

Break off a piece of the material to the size you want. Then cut away its backing material.

Glue to the landscape with white glue that will dry clear and matt. I recommend Mod Podge Matte Medium.  
  
**TIP 2** DIFFERENT HEIGHT GRASSES

  
We’ve covered how to plant static grass countless times over the years but there’s much more to static grass than simply switching on your GrasMaster. Realistic miniature grass requires careful study of the prototype.  
To plant realistic grass, it is necessary to use different height fibres, over-planting one layer with another. In my experience, Noch’s are some of the best subdued colours that can be mixed together.  
**What to buy?** Noch • 08321 2.5mm Dark Green Scatter Grass • 08324 2.5mm Golden Yellow Scatter Grass  
**Price:** £3.05 each  
**Availability:** Gaugemaster  
**Tel:** 01903 884488  
**Web:** _:a[www.gaugemasterretail.com]{href='https://www.gaugemasterretail.com' }_

Spread on a little glue over the area you want grassed. Then plant with light green 2mm fibres.

Once the glue has dried, dab on a little glue on top of some of the 2mm fibres. Then repeat with 4mm medium green fibres.

Leave to dry overnight. The following day, apply some small areas of glue and plant 7mm dark green fibres.  
  
**TIP 3** CHOOSE THE RIGHT TREES

  
A tree can make or break a scene, particularly when used in the foreground. Don’t skimp here! There are loads of good quality trees available from Busch, Faller, Noch (its Master Trees range) and Premium range of Woodland Scenics.  
However, I’ve been impressed by Primo Models’ range. The trunk, foliage and lower branches are well produced and they come in lovely cardboard packaging.  
**What to buy?** Primo Models Larch Model Trees  
**Price:** from £9.00  
**Availability:** Primo Models  
**Tel:** 07928 856138  
**Web:** _:a[www.primomodels.co.uk]{href='https://www.primomodels.co.uk' }_

Planting a tree couldn’t be easier. Make a hole in the landscape using a bradawl or even a screwdriver.

Press the tree into the hole and secure with your favourite clear, matt adhesive.  
  
**TIP 4** ADD CAMEOS

  
Small scenes of everyday life can really catch the eye if done well. They can even make the layout feel bigger because they keep your attention for longer.  
There are so many possible sources for cameo scenes. The ModelU range of figures is worthy of mention but you do have to be handy with a paintbrush to get the best from them. Of the ready-to-plant selection, Noch’s figure sets are a really quick and easy ways to add a cameo to your layout – and I used several here.

Couldn’t be easier: choose the desired location and secure with a small blob of PVA adhesive.  
**What to buy?** Noch 15891 Anglers x5  
**Price:** £17.25  
**Availability:** Gaugemaster  
**Tel:** 01903 884488  
**Web:** _:a[www.gaugemasterretail.com]{href='https://www.gaugemasterretail.com' }_

Rather than another ‘how to use it’, this time it’s a word of warning: plan your cameo use carefully. Aim to mirror real life scenes, avoid cliches and don’t over do it!  
  
**TIP 5** FREE STUFF

  
Good as they undoubtedly are, modern scenic products can be quite expensive. So a ten-minute walk around your garden or local park can yield lots of modelling material.  
Fallen twigs are perhaps the most useful and can be used for anything from timber loads to tree stuff. Remember to only use discarded material – don’t start ripping twigs from trees or moss from stones!  
**What to buy**? Twigs and sticks  
**Price:** Free!  
**Availability:** Garden, park, local woodland

It is best to work with twigs that are fully dried. If they’re damp, leave them in a warm room or the airing cupboard to dry.

Cut off any side shoots as near to the main stalk as possible using a sharp craft knife over a cutting board.

Fix to the layout using PVA… or any adhesive that dries matt and clear.  
  
TOP TIP  
Keep any loose pieces of leftover bark to crush between your fingers for representing the debris around the base of a tree and on the floor of a wood or forest.  
  
**TIP 6** VARY THE COLOUR

  
You only have to look out of your window to see the huge variety of colour that Mother Nature has to offer. It’s currently spring, yet how often do we see the purples, pinks and whites of spring blossom modelled? Not often.  
I make no apologies for using these small trees from Primo Models, which are available in a number of foliage colours. What makes them great is that, at 5cm tall, they can be used to represent a flowering bush.  
**What to buy?** Primo Models Blooming Apple Tree  
**Price:** £10.00  
**Availability:** Primo Models  
**Tel:** 07928 856138  
**Web:** _:a[www.primomodels.co.uk]{href='https://www.primomodels.co.uk' }_

Dead easy! Use the same technique for planting trees described on the left.  
  
**TIP 7** SCENIC PAINTS

  
Remember when all we had was lichen and coloured sawdust? New from WW Scenics are five different shades of modelling mud.  
Effectively a textured paint, they come in 100ml re-sealable pots and there are Smooth, Fine, or Coarse Textures to choose from.  
The beauty of these ‘muds’ is that they can be mixed to form different shades or textures. They can even be used to fill gaps in the landscape too.  
**What to buy**? WW Scenics • Clay Wet Mud • Black Peat Wet Mud • Brown Clay Wet Mud • Light Brown Wet Mud • Coarse Dry Mud. RRP: £9.99 each  
**Availability:** WW Scenics  
**Tel:** 01792 815841  
**Web:** _:a[www.wwscenics.com]{href='http://www.wwscenics.com' }_

Take an old, flat paintbrush and paint the mud where you want it to go. Then leave to dry. I used it on this diorama to make a forest track.  
  
**TIP 8** GRASS TUFTS

  
Grass tufts can be useful for adding height and colour to a scene, though it is best to avoid those that look just what they are – a bunch of static grass fibres on top of a blob of glue. Unlike static grass, tufts come into their own in isolated areas where it’s not worth getting out your grass applicator.  
Again, there are myriad tuft manufacturers but I’ve been won over by those from Primo Models. The fibres are nicely subdued and the flower effects are finely applied. There’s a good range of different heights and colour combinations.  
**What to buy?** Primo Models • Brown Grass Clumps 12mm • Brown Green Grass Clumps 6-12mm  
**Price:** £3.00 each  
**Availability:** Primo Models  
**Tel:** 07928 856138  
**Web:** _:a[www.primomodels.co.uk]{href='https://www.primomodels.co.uk' }_

Planting tufts is a quick process. First, put a dab of white glue on the landscape where the tuft is to go.

Hold with a pair of tweezers, then push it in the still-wet glue. Leave until the glue cures.

  
With modern ready-to-run diesel-outline models excelling in the art of interior decor, what can we do to improve the spartan cabs of older models? **George Dent** offers some simple tips.

  
**H**ow we’ve been spoiled over the past decade or so, with ever-increasing levels of detail on our new diesel and electric locomotives. An increasingly common feature is a fully detailed and painted cab interior, with all the dials and controls picked out, plus printed instruction and safety panels on the bulkheads.  
Much depends on the prototype’s design, and whether these internal appointments are actually visible on ‘OO’ models, unless the cab lights are illuminated. But when the detail can be glimpsed, the effect can be really satisfying. Most of us are in no hurry to replace our large fleets of models from the 2000s, which still run beautifully and – in the most part – look pretty good, but is there a way to bring some extra life to the interiors? After all, if you’ve put some work into making the exterior look more realistic, by adding bufferbeam hoses, etched nameplates and so on, a dark void within the cab or a basic grey moulding can spoil the effect somewhat.  
Presented here is a simple array of tips for bringing your interiors to life, whether that be painting an existing moulding or fabricating your own, or maybe adding clutter such as safety vests and discarded newspapers. Adding a suitable crew is a no-brainer, with plenty of figures available these days, not least 3D-printed characters from Modelu with a broad choice of poses and uniform styles to suit different eras. When figures are already provided, such as the Bachmann Class 66 seen above, painting into more appropriate colours can be helpful.  
Moreover, when faced with a locomotive with generous windscreens, such as the Class 66, adding some magazines and newspapers strewn atop the console instantly catches the eye. And it’s a regular sight in reality too, which is a bonus!  
  
What you will need  
**SHOPPING LIST**  
◆ 3D-printed train crew figures  
**Price:** from £4.95 each  
**Availability:** _:a[www.modelu3d.co.uk]{href='https://www.modelu3d.co.uk' }_  
◆ Lorry/Van detailing pack  
**Price:** £2.00  
**Availability:** _:a[tencommandmentsmodels.co.uk]{href='https://tencommandmentsmodels.co.uk' }_  
**TOOLS**  
◆ Knife and spare blades  
◆ Cutting mat  
◆ Steel rule  
◆ Tweezers  
◆ Paintbrushes  
**STEP BY STEP**

**1** There was a time when we were grateful for any form of cab interior, and these mouldings from a Vi-Trains Class 47 from the late 2000s have been painted matt black to remove the intrusive, high floor from view. The tops of the seats have been picked out and, thanks to the driver’s safety vest, he becomes more visible from the exterior.

**2** As diesel-outline models began to offer improved levels of detail, the cab interior mouldings became a little more intricate, albeit usually unpainted. The seats, doors, bulkhead detail and consoles of these Bachmann Class 25 cabs (from the mid2000s) already look better. Painted drivers help too.

**3** Bachmann’s original Class 08 first appeared in 2000 and will soon be superseded by an all-new version. A simple, effective upgrade for older models is to prise the cab shell off and paint the control panel and equipment, picking out the dials, and giving the ‘floor’ a coat of matt black before fixing a driver in place.

**4** Heljan’s Class 14 has been around for 15 years now and, while the interior mouldings feature lots of detail, they’re unpainted. Picking out the controls, dials and conduit in appropriate colours, while painting the ‘floor’ matt black, gives a sense of depth. A coat of thin weathering wash and a spot of dry-brushing gives the cab a lived-in feel.

**5** This Hornby RailRoad Class 37, based on the 1980s Lima tooling, lacked any sort of cab interior, so I added one to the non-motor end from various bits of plastic card offcuts and seats salvaged from a long-forgotten old model (a Hornby ‘25’?). A degree of fettling was required to ensure adequate clearance within the bodyshell profile.

**6** Reducing and printing newspapers, magazines and other ephemera is a simple way of adding internal clutter – and gives the Driver’s Assistant something to fill his time. This is a proprietary pack of printed details, aimed at lorry cabs, from Ten Commandments. Adding a road atlas into a train cab can introduce a touch of humour.

**7** Milliput and similar modelling putties are great for shaping into objects with which to furnish the cab, such as drivers’ bags, lunch boxes, flasks and even clothing. These high-visibility vests were created by rolling out the putty thinly, trimming to size, then folding loosely. Once painted, they look the part.

**8** This LimaClass 67 has gained a driver’s desk from an aged Hornby Class 110 DMU, found in a bargain bin at an exhibition, while the DIY high-vis vest adds extra interest. I wasn’t able to add a bulkhead due to the proximity of the gear tower, but the painted driver catches the eye through the windscreen.

Altering one decision can drastically change the outcome of one’s life. Russ Pigott has filled his room with a hypothetical scenario based on one change from 300 years ago.

**Words:** Chris Gadsby **Photography:** Chris Nevard **Artwork:** Andrew Mackintosh

**“ It doesn’t matter whether Russ is in the mood for shunting or running long rakes of wagons, there’s something he can do to while away the hours at ‘Cley-on-Sea’. One of the lucky ones with plenty of space to include everything he wanted, it’s no wonder his family lose him for hours at a time! ”**

Anybody who has watched plenty of science fiction television or films will be familiar with the laws of causality. For those who aren’t familiar with the term, the premise is that a single decision in the past creates an entirely new timeline and therefore one cannot simply go back in time and change an event expecting everything to be the same. We often think about this in our own lives with the expression ‘I wonder what life would have been like if I hadn’t…’ Fortunately, model railways allow us to play out these hypothetical scenarios without inadvertently changing the course of human events. Russ Pigott has done just that with his enormous room-filler ‘Cley-on-Sea’.

“The port of Cley used to be one of the busiest ports in England before it was silted up in the 1700s. If you look at historical maps you can see how much more water there used to be around the area. My ‘event change’ from the past is that this silting didn’t happen, and that Cley continued to grow and become a busy holiday destination like Great Yarmouth with a thriving railway. In real life I’m quite pleased that Cley-next-the-Sea remains a quiet little village, with the hustle and bustle confined to my dedicated railway room.”

> “My ‘event change’ from the past is that this silting didn’t happen, and that Cley continued to grow and become a busy holiday destination”

The track rises about three inches as it leaves the terminus station, giving a subtle but pleasing elevation change.

Russ splits his free time seasonally, working on his array of classic cars in the summer, before heading upstairs in the winter to work on the 200 yards of track at ‘Cley-on-Sea’.

“Construction of the layout began in 2018 with the building of 100ft of baseboards, covering in laminate flooring to ensure quiet running and allow the track to be lifted easily again if required. The track is all Peco Code 100 as I had a lot of it already from previous projects, but I did have to purchase a bit more to cover the 140 points that the layout now has. Unlike many modellers, I didn’t spend ages coming up with a track plan before I started building, my approach was to put track down and just see what looks right. A benefit of a fictitious layout! I knew I wanted a terminus station, but also the ability to run trains in a loop, a triangular junction, motive power depot, small marshalling yard, tramway and a swing bridge. It’s a good job I had a 35ft by 18ft room to put all that in. What I didn’t want was rows of sidings which looked too geometric and ended up with a big loop around the outside of the room and a triangular junction which feeds the terminus station in the middle.

With ‘Cley-on-Sea’ being so large, we’ll allow Russ to take us on a tour of his creation, starting with the large terminus station.

“I’ve taken inspiration for that from Norwich, Yarmouth and Lowestoft, so it’s a real mix of areas. There are four main platforms and a bay platform with a busy street down one side, consisting of low-relief buildings, either ready-made or kits. I’ve also included some larger buildings constructed from Tri-ang Arkitex, which some older readers may remember. In the station throat there are three double slips and a scissors crossing which allows trains to reach any platform and the sidings from both main lines and on the opposite side of the station there are some smaller sidings for shunting wagons for the quayside and a coal yard.

“Leaving the station and turning right you reach the village I’ve called Wiveton Quay and the Wiveton swing bridge where the railway crosses the Norfolk broads. This was laser-cut for me by Adrian from Torri Laser and given more relief with profiled plastic strip. Trains then move through the village consisting of some ready-to-plant buildings such as the pub and shop from The Model Centre, but the signature of the area is the flint cottage which I had to make from card and embossed plastic card as nothing is available on the market. Norfolk also has many large flint churches, and to replicate this I use the Metcalfe example as a base, covering it in flint plastic card. Keen not to fill the entire layout with track, I then have a section of country track in a plain setting which passes through a former station and into the non-scenic sidings above the stairs.

“At the other end of the non-scenic section trains go past Glanford Yard. This has no influence from Norfolk at all, this time taking inspiration from places such as Doncaster, with a shed, fuel storage and warehouse. From here trains can either follow tracks around to the right and into the terminus station again, or loop around the entire layout again.”

8 - Russ has painted his track with aerosols before ballasting with Woodland Scenics fine ballast. This was then coated with Pledge Klear floor polish, applied from a trigger spray, before the track was weathered with more aerosol-based paints.

9 - The water for the Norfolk Broads has been created using Allan Downes’ method of painting the baseboard and pouring PVA on top in small layers, allowing each to dry before moving on.

Despite ‘Cley-on-Sea’ being a fictitious layout, as a freight train driver, Russ still wanted to make it look as realistic as possible, from the way he operates his points to the positioning of the semaphore signals.

“With 140 points to operate, I made the decision that only those operated by a signal box would have point motors, my rationale being that in a yard points would be changed by hand, so I might as well switch the points by hand as well. The signals are from Ratio with MSE ground discs and a banner repeater. Unfortunately, my modelling skills don’t extend to being able to make operational semaphores but they are all posable to ensure they look correct for photography. My colour light signals have been wired with multiple switches in sequence so that moving one switch changes the aspects of multiple signals to the correct colour, avoiding a green signal directly before a red one. I’m quite fussy about getting the signalling right as I’ve seen so many fabulous layouts ruined by signals placed haphazardly all over the place.”

There isn’t any more room for ‘Cley-on-Sea’ to expand, but with the build complete other than the addition of a few more extra details, Russ is now ready to kick back and play trains, something he doesn’t feel he’s done enough of over the last four years.

“Most of the models are fitted with DCC sound, so I’m looking forward to sitting back and listening to them make their way through the East Anglian countryside. I’ve also been starting to film videos for YouTube so once the cars have been packed away again this winter, expect to see many more videos on my channel.”

With Russ’ layout showing what might have been had one decision not been made 300 years ago, it highlights just how many variations of layouts there could be depicting the same place had different decisions been made throughout history. The mix of alternative and true history always makes for an entertaining layout, so why not give it a try?

13 - Russ built ‘Cley-on-Sea’ primarily to run trains, but hasn’t considered running it to a timetable. As long as the stock is appropriate for Norfolk in 1968/69, it can run in Russ’ railway room.

14 - The road surface is poster paint with added filler and sanded to give different shades and textures throughout.

1 - Everybody loves a barn find, and these vehicles look ripe for restoration.

2 - The local coal merchants are hard at work bagging up all that fuel.

3 - The busy townscape and terminus station, with its similarity to Norwich Thorpe.

“I’m a freight train driver and enjoying taking my collection of classic cars out for drives in the summer months. I have four MGs, including a Maestro that wins a few prizes at shows, and two Rovers.”

With the weather getting a bit warmer, **Peter Marriott** turns his attention to summer and describes how to make a beach with a difference.

Think ‘beach’ and you immediately picture smooth, sun-kissed sand. Perfect for building sandcastles (or digging holes if you prefer!), playing football or cricket or simply relaxing on a towel. Yet there are dozens of beautiful beaches around the UK where you can’t dig, play or relax because they comprise more shingle than sand.

From Scotland to the South Coast, East Anglia to North Devon, there are shingle beaches galore. Some are mixed with sand whereas others are nothing more than acres of smooth stones that make that distinctive clonking sound when you walk on them.

A sandy beach is quite easy to recreate in model form, but a shingle beach presents some challenges. Woodland Scenics offers the solution in the form of its bags of Talus– essentially small stones – which come in three grades: coarse, medium and fine.

Another good find from the Bachmann/ Woodland Scenics range was re-purposing the Scenecraft Sleeper Retaining Walls as groynes, the distinctive feature that you find on a beach that acts as a barrier to long-shore drift.

In fact, you can get pretty much everything you need for a pebbly, shingle beach from Bachmann/Woodland Scenics. That made modelling this small scene a very quick affair. Within a few hours, I had a scene where, with a bit of imagination, I could hear the waves washing over the stones, smell the salt of the sea and feel the breeze blowing my hair.

All I needed was the taste of fish and chips!

◆ Woodland Scenics • WC1274 Fine Brown Talus • WC1275 Medium Brown Talus • WC1276 Coarse Brown Talus (£6.50 each) • WA1937 ‘HO’ Windy Day Play (£13.25) • WA1939 ‘HO’ Outdoor Dining (£13.50)  
◆ Bachmann Scenecraft • 44-0153 Lifeguard hut (£15.95) • Wood Sleeper Retaining Walls (£13.95)  
**◆ Availability:** Bachmann stockists  
◆**Web:** _:a[www.bachmann.co.uk]{href='https://www.bachmann.co.uk' }_

◆ Woodland Scenics Scenic Glue  
◆ Craft knife with sharp blade r Bowls r Paint brushes r Plastic pipette

**1** I used a piece of white foam to provide a lightweight base and then used plaster cloth to make the profile of a beach. Cut out small pieces of the base foam to make rock pools.

**2** The surface was covered with a thin layer of plaster, coloured with a little brown paint. Set the Scenecraft retaining walls into the plaster. A little Scenic Glue helps to fix them into place. Leave to dry.

**3** It’s worth studying pictures of real beaches to get a feel for where to place the different grades of Talus. I used all three sizes – fine, coarse and medium. Be careful to maintain depressions within your rock pools.

**4** Use a plastic pipette to spread Scenic Cement over the loose Talus. Once the first coat has dried, cover the whole area again to ensure a permanent bond. This has worked well and the beach has remained stable.

**5** Line the edge of the baseboard with masking tape to prevent the water solution from leaking all over the place. I used Woodland Scenics’ Realistic Water for the first layer. Apply using the supplied instructions.

**6** A layer or two of Realistic Water will leave a nice, flat, glossy water surface. In order to create waves, I used Woodland Scenics’ Water Ripples. You can use the supplied ‘lolly stick’ to whip the fluid into waves.

**7** Woodland Scenics’ range of surface water products includes this white paint, which has been formulated to create ‘white horses’ on its Waves and Ripple products. Dab on to the dried waves.

**9** I used 7mm static grass towards the rear of the diorama to represent marram grass, fixing it into Woodland Scenics’ Static-Tac adhesive. Some Woodland Scenics Peel ‘N’ Plant tufts bring a little variety.

**8** Don’t forget the rock pools. Use poster paints to colour the bottom of the pool – study the real thing first. Then fill with a little Realistic Water. Allow each layer to dry before adding another.

**10** Woodland Scenics offers some useful packs for a beach scene, albeit in ‘HO’ scale. Fix with Scenic Glue. I felt the scene needed a fish retailer – but that particular Scenecraft model is no longer available new.

**Peter Marriott** employs some useful modelling aids to produce convincing scenic contours and lifelike vegetation, offering some vital hints and tips along the way.

**I**t cannot be stated enough how important it is for us modellers to take the time to study the natural landscape around us. This helps us to reproduce what we see more effectively, resulting in better looking scenery.

For example, on looking at an area of grass and weeds it soon becomes apparent that sometimes the shorter grasses are darker than the longer strands. Therefore, the challenge is how to best employ different shades of grass fibres to make the most realistic landscape.

We see many different textures and shades of green in real life which means that, to make the best scenery, multiple layers of scenic covering and a range of different materials are necessary.

Go out for a walk or study photographs of your chosen location, making notes on what you see. When browsing products, you’ll be able to seek out the most appropriate colours and lengths of grass fibres to suit your subject, considering the scale you’re working in and also which season of the year you’re looking to reproduce.

I always suggest veering towards more subdued colours for scenic work, rather than bright vivid colours which can look garish on a scale model. Pay attention to seasonal colours too, as there’s more likely to be paler shades of grass and vegetation in autumn than in the height of spring, for instance.

The use of static grass on model railway layouts has become popular because modellers love the realistic three-dimensional effect that it creates, especially compared to traditional scatter materials. That said, simply covering an area in white glue and planting layers of static grass fibres is not the answer to realistic scenery.

As I demonstrate here, we can create more compelling textures by building up the fibres in layers, varying the length and colours with each application, while complementing grass fibres with scenic foam pieces, tufts and Poly Fibre material. And yes, those traditional fine scatter materials do still have a role to play, adding fine leaf texture to bushes and hedges.

◆ Woodland Scenics Shaper Sheet, Poly Fibre, fine scatter materials, Static-Tac, Tuft Tac and Scenic Glue  
**Availability:** Bachmann stockists  
**Web:** _:a[www.bachmann.co.uk]{href='https://www.bachmann.co.uk' }_

◆ Static grass fibres (2, 4, 6 and 7mm length in various colours), sand  
**Availability:** WW Scenics  
**Web:** _:a[www.wwscenics.co.uk]{href='https://www.wwscenics.co.uk' }_

◆ Tweezers  
◆ Scissors  
◆ Paintbrushes  
◆ Electrostatic grass tool

**1** The trackbed was raised 2in above the top of the baseboard by using Woodland Scenics foam risers. I also added a strip of 1mm thick mounting card to the top of the riser (bonded with scenic glue) to provide an underlay for the track. The card was painted black.

**2** A bridge was scratchbuilt from Styrofoam and card (see MR337) and, once this had been fixed in position, it was time to turn my attention to the creation of the embankment around it.

**3** Woodland Scenics Shaper sheet holds its form without the need for underlying support. The sheet was cut into long strips wide enough to treat the height of the embankment with a little excess for bonding to the baseboard surface.

**4** The Shaper Sheet strips had to be wide enough to create a gentle landscape profile, and cut to a suitable shape to cater for the abutments and wing walls. Cuts were made gradually after test-fitting the material in place.

**5** After testing the fit of the Shaper Sheet strips, and feeling happy with the shape and contours of the embankment, the material was bonded to the leading edge of the trackbed and held in place with removable nails or drawing pins.

**6** The Shaper Sheet was tucked behind the walls of the bridge and bonded with glue, gently stretching the material to achieve the desired contours. Note that the Shaper Sheet was laid with the metal foil side facing down, and the ‘fluffy’ side upwards.

**7** Glue was spread along the lower edge of the embankment and the Shaper Sheet formed to the desired contour before pressing it down into the adhesive. Woodland Scenics Foam Nails are handy for holding parts while the glue sets, when they can be removed and reused.

**8** Having repeated the process along each side of the embankment, and once the glue had cured, I painted the Shaper Sheet with a coat of earthy brown acrylic paint (Woodland Scenics Earth Undercoat), which soaked readily into the material.

**9** The first coat of paint tamed the rough texture of the Shaper Sheet and, once dry, I touched up any areas that were missed. I was impressed how the sheet maintained its gentle profile, in contrast to plaster cloth, which has a habit of sagging unless stretched or supported.

**10** I teased out pieces of Poly Fibre and glued them to certain areas of the embankment. I then misted over a layer of extra-hold hairspray across the scene before sprinkling a range of fine scatter materials to create a leaf effect on the vegetation.

**11** Rather than cover the entire embankment in static grass, I wanted areas of exposed stony earth, so I brushed on some cheap PVA and sprinkled a layer of fine sand into the wet glue. The track was then ballasted, bonding it in place with a thin PVA-type glue.

**12** The next step was to run beads of PVA glue along the top of the embankment, along the edge of the ballast, and along the lower edge of the bridge and retaining walls. I sprinkled on a mixture of green scatters into the wet glue.

**13** Static-Tac glue was spread with a round paintbrush around the areas of exposed rough ground, dabbing it into the surface. I wanted to create the impression of random plants of a gravelly embankment, being careful not to paint the entire slope with glue.

**14** To plant static grass fibres, I used an electrostatic applicator tool, loaded with a mixture of lengths and colours. The contact cable was clipped to a rail track, the tool activated and gently shaken over the wet glue.

**15** The process was repeated a second time, blowing away any loose fibres to reveal ‘bald’ areas of sand, then dabbing on a little more Static-Tac adhesive, especially towards the base of the embankment.

**16** More static grass fibres were applied from the tool. My aim was to create the appearance of random weeds rather than a uniform layer of grass. For this ‘OO’ scene, I used a blend of 2mm, 4mm and 6mm long grass fibres.

**17** Once the glue on the first layer of the fibres had dried, the next day, I added dots of Tuft Tac in random places, prior to planting taller and darker static grass fibres.

**18** The clumps of taller, darker grasses provide greater visual variety and texture, contrasting nicely with the visible areas of rough earth (created with the sand scatter material). I was really happy with the results so far.

**19** Behind the track I needed a strip of dense vegetation to form part of the backscene, so I started first with some pieces of hedging salvaged from a previous layout, fixing these to the mounting card using scenic glue.

**20** Gaps between the hedgerows were filled with teased-out pieces of Poly Fibre. These were leftovers from previous projects, so it was quite random. The Poly Fibre clumps were bonded to the base with PVA glue.

**21** More layers of hairspray were misted on, followed by more fibres between the trackbed and the hedging, plus a few coloured bits of foam to add some attractive wildflowers. Use the hairspray to seal everything in place.

**22** After spraying the teased-out Poly Fibre and Hedgerow Scenics vegetation with extra-hold hairspray, a mix of fine scatter materials were applied, unifying the appearance and providing leafy texture.

Woodland Scenics Shaper Sheet is a very useful product, consisting of a strong and pliable sheet that holds its form without the need for extensive support. It can be shaped and re-formed to create the desired landscape profile and can, if desired, be covered with wet plaster (matching Shaper Sheet Plaster and Plaster Cloth products are also available), to create a wide range of effects, such as rock faces. The wet plaster bonds securely to the fibrous coating of the Shaper Sheet’s upper surface to form a hard, permanent shell, while the metal foil of the underneath is what helps keep its shape.

To link flat sections of Shaper Sheet together, tease the fibre mesh away from shaper foil along the connecting edge, thus exposing the tacky surface. Pull off the gauze backing on the fibre mesh from the shaper foil and press the section of Shaper Sheet onto the tacky surface and cut away any excess material.

Like real grass and vegetation, static grass fibres stand upright when applied with an electrostatic tool. Using static grass is a great way to model areas of vegetation, whether that be fields and meadows or even patches of weeds around rail tracks or concrete aprons.

It helps to employ different lengths and colours of grass fibres to mimic different kinds of vegetation and phases of growth. For example, the Woodland Scenics Field System range includes four lengths of fibres – 2mm, 4mm, 7mm and 12mm – in four different colours – light green, medium green, dark green and straw.

For this project, I used a Woodland Scenics Static King electrostatic tool, which is good for covering large areas and, thanks to its clever design, it can be placed upside-down for easier filling. It comes with various sieve sizes to suit different fibre lengths, while a divider allows the use of multiple colours and lengths at the same time.

Another welcome feature is the clear hopper that ensures you always know how much Static Grass you have left. An indicator light makes it easy to know if the Static King is turned on or off. Power is supplied via a 9V battery (not supplied) or, to ensure more consistent operation, by using a mains power supply (available separately).

Like all electrostatic tools, it’s necessary to create a static field between the applicator and model surface. Often, a cable and crocodile clip are provided which can be attached to a nearby rail or a nail temporarily pushed into the scenery. With the Static King, a four-pronged metal anchor provides an effective ‘ground’ connection.

Thanks to the kind folks at The Airbrush Company, three lucky Model Rail readers can each win a pair of LifeColor acrylic paint sets worth £37. Produced by Italian firm Astromodel, and aided by Model Rail’s George Dent, the paint sets provide essential, authentic shades for the steam and diesel eras of British Railways.

Set one covers the 1948-1959 period, containing Standard Locomotive green, signal red, coaching stock crimson and cream, plus grey and bauxite wagon colours. Set two includes Rail blue, Rail grey, warning panel yellow, Railfreight red and grey, plus coaching stock blue-grey. Water-based, non-toxic and formulated for easy application by brush or airbrush, the paints are supplied within 22ml plastic jars with screw-top lids, with each six-jar set packaged within attractive boxes.

Enter the form below for your chance to WIN!

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TERMS AND CONDITIONS: Promotion closes 11:59pm on 4th June. Open to UK residents aged 18 or over only, except any employee of Promoter, its affiliated companies, any promotional partners or their families. Up to 1 entries per person. No cash alternative and prize is non-transferable. Your information will only be used to administer this Promotion in accordance with our privacy policy. Promoter: H Bauer Publishing/Bauer Consumer Media Ltd. Full T&Cs apply: see:a[https://www.bauerlegal.co.uk/competition-general-terms-and-conditions]{href='https://www.bauerlegal.co.uk/competition-general-terms-and-conditions-20240625' }

One of the stars of Model Rail’s June issue is ‘Cley-on-Sea’, a fabulous room-filling ‘OO’ gauge layout by Russ Pigott. Based on the premise that a once-prosperous port on the East Anglian coast, which fell out of use in the 1700s, was instead developed into a major source of traffic for the railway. Although fictional, the layout features many recognisable nods to the region, with a terminus station that resembles Norwich Thorpe, and a stretch of the Norfolk Broads spanned by an archetypal swing bridge. Together with a host of vernacular architectural styles, the layout makes for a hugely convincing composition.

For history buffs, we take a deep dive into the story behind Drummond’s almost-forgotten – and capricious – ‘T14’ 4-6-0s, nicknamed ‘Paddle Steamers’ due to their unusual appearance, while Alex Rockey combines 3D printing with some good old-fashioned cut-and-shut work to create an attractive miniature replica.

Along with details of Bachmann’s all-new ‘OO’ Class 66 project, we also feature developments in ‘TT:120’ from Hornby and Heljan, while running the rule over new model releases, including Dapol’s hugely impressive ‘Austerity’ 0-6-0ST and Hornby’s hotly anticipated Class 755 ‘FLIRT’ units… and a tasty array of Irish wagons too.

It's all in the latest issue of Model Rail, on sale now!

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**Paul Bambrick** reveals how he employs made-to-measure sheets of thin alloy sheet to form curved backdrops to his layout projects.

**I**f you’re thinking of starting a new layout project, or re-doing your backscene rear panel, here’s an idea that might be worth a try. Most of the backscenes that I produce now, even on permanently installed layouts, use 0.9mm thick, soft alloy sheet to do the job. This material has a great many advantages over inflexible wooden panels, as it’s lightweight and strong, but also very easy to curve into shape. The material can be mail ordered, already pre-cut to your chosen size (see panel).

In order to establish the dimensions, it’s best to set up the rear panel as a temporary mock-up using mounting card. or even regular corrugated cardboard with white paper spray-mounted onto the surface. Follow the line of your new rear panel around the back of the layout keeping it as far away from the model as you can allow, while also keeping the curvature as gentle as possible.

Once you have a temporary rear panel mocked up into place, you can determine where any joins might occur, factoring in the maximum panel length available, which is generally 2.5m. With smaller layouts and dioramas, this maximum length will sometimes allow the entire rear panel to be free of joints.

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