MDR-NEWSLETTER-HERO-TEMPLATE.png

Model Rail issue 343 is now available!

Display_BWS_1600x900.png

Rail 200 Special Edition – OUT NOW!

One magazine, endless expert builds and tips

Display_BWS_1600x900-2.jpg

Try 3 issues for £5

FEATURE-IMAGE.png

WIN a pair of LifeColor paint sets worth £37!

Class-31-1600x900-1.png

Exclusive New Model – Class 31

BWS-Article-hero-image.jpg

Exclusive New Model – Class 26/1

MR-Article-Size.jpg

Enjoy instant digital access to Model Rail!

Steam-Article-1.jpg

Enjoy instant digital access to Steam Railway!

MR-021-pic-2-scaled.jpg

Our new Sentinels are now available!

Pannier Pic 1_preview.jpg

THE ’16XX’ IS HERE!

s19.jpg

How to: model autumn scenery

w5.jpg

How to: give your vans a weathered finish

s4-web.png

Accurascale ICI hoppers

m3.jpg

How to: use Modeltex foam-backed sheets

tank1-1.png

How to: build a metal tank wagon kit

sheep1.png

How to: make realistic sheep

ht1.png

How to: bring the cabs of older models to life

wb1.png

Model Rail’s 8 essential tips for better scenic modelling

Cause-and-Effect-14.jpg

Cause and effect

Single-beach-1.jpg

HOW TO: MODEL A SHINGLE BEACH

Embankment-1.jpg

HOW TO: CREATE A REALISTIC EMBANKMENT

Aluminium-Backscene-14.jpg

HOW TO: MAKE A LIGHTWEIGHT BACKSCENE FROM ALUMINIUM

London-Bridge-Progress-7.jpg

LONDON BRIDGE PROGRESS UPDATE

A-Weekend-Wonder-1.jpg

A weekend wonder

Website-feature-image-2.jpg

HOW TO MAKE YOUR OWN GRAFFITI TRANSFERS

Website-feature-image.jpg

HOW TO CUSTOMISE A SIGNAL BOX KIT

Model of the Year

Voting

The Models

Online Features

Model Rail For Beginners

Workbench

Layouts

Reviews

Magazine

Latest Issues

Offers & Competitions

It has been a busy summer for rail enthusiasts, not least with the Greatest Gathering celebrating 200years of our public railways. This landmark event is covered in the new issue of Model Rail, along with all the latest happenings in the hobby, including the launch of all-new renditions of the once-ubiquitous Stanier ‘8F’ and Class 47.

A wide range of practical tips are provided by our team of inspirational experts, with everything from wooden platforms, locomotive re-numbering, painting and weathering covered in detail. We also present two outstanding readers’ layouts, in ‘N’ gauge and 3mm scale, showcasing some fabulous scenery and kit-built rolling stock.

Accurascale launched two exciting new models recently - the LNER ‘Buckjumper’ 0-6-0T and the BR Class 60 - samples of which are reviewed in-depth, alongside the Lionheart Trains GWR ‘55XX’ and the latest batch of Sonic GCR ‘A5s’.

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

### Subscribe to Model Rail magazine and get the most out of your hobby

In each issue we cover every stage of the hobby, from buying a first model train set right through to museum standard fine-scale modelling. Model Rail magazine is full of helpful tips, advice on model train layouts, details on model train sets, step-by-step articles and more! Choose the right subscription option for you and get instant digital access to the latest issue.

:a[**VIEW SUBSCRIPTION OFFERS**]{href='https://www.greatmagazines.co.uk/model-rail-magazine?utm_source=model-rail.co.uk&amp;utm_medium=referral&amp;utm_campaign=bau_modelrail&amp;utm_content=article_new_issue' }

Workbench  
**Peter Marriott** discusses simple ways of capturing the look of the most romantic of seasons.

  
**P**oet John Keats described autumn as “the season of mists and mellow fruitfulness”, summing up the romantic nature of this time of year, as we say goodbye to summer and start preparing ourselves for winter.  
The shift from verdant green landscapes to more earthy, russet tones offers modellers a wonderful opportunity to create stunning scenic work. Arguably, though, it’s difficult to replicate a ‘typical autumn scene’, due to different areas of the UK experiencing the season in slightly different ways.  
In more northerly climbs, for instance, autumn can feel compressed, with the onset of winter coming sooner compared to more temperate areas of the south. A longer, milder and drier autumn typically leads to trees and vegetation turning through different shades of yellows, reds and browns at a more leisurely pace. But then, in our unpredictable British climate, no two years are the same!  
Certain aspects of autumn are consistent, however, including:  
◆ Leaves turning from green to russet red and brown – surely one of nature’s most splendid sights. Deciduous trees may lose all their leaves once winter sets in, but evergreen trees often look the same all year. Some coniferous trees, such as larch, do change colour with the seasons.  
◆ Grass and weeds change to a tired brown.  
◆ Hedgerows initially become a fest of colour, with berries and fruits ripening, before the foliage turns from deep green to a variety of yellows, browns and reds.  
◆ Farmers will be busy harvesting their crops and baling hay in the fields. Orchards will have windfall fruit on the ground and fruit pickers may be busy in the fields in early autumn.  
**SUITABLE PRODUCTS**  
There is an expanding selection of products from numerous manufacturers that enable an autumnal scene to be reproduced in miniature. There are plenty of scatter and leaf material packs in various autumnal colours, although I’d recommend using these sparingly, as the effect can easily become too vivid and unnatural.  
Model trees, in ready-made or kit form, are offered in autumnal colours and a little time spent searching model suppliers’ websites will reveal suitable printed photographic backscenes, featuring trees and vegetation turning towards brown and shedding leaves, while ready-to-lay grass mats – from the likes of Busch, Faller, Model Scene and Noch – feature grass fibres of various heights and autumnal colours and textures. Some are also enhanced by fallen branches and coarse ground cover.  
Busch, JTT, Noch and Scalelink offer a good selection of miniature crops, late-blooming flowers and other seasonal vegetation, including dried corn, grape vines and wheat fields ready for harvest. Even mushrooms are available for 4mm scale, courtesy of Busch.  
Dried tea leaves offer a great way to replicate fallen leaves, whether in a garden, countryside or woodland setting. Once the tea has been brewed, sprinkle the loose leaves on a piece of kitchen tissue and allow them to dry out. Fallen leaves eventually become brittle as they dry out, so the tea leaves can be crushed to make excellent scatter material, which is perfect for laying around the bases of trees.  
So many of us modellers default to replicating summer or springtime scenes on our layouts, but autumn can be one of the most distinctive and visually striking seasons. These days, it’s easier than ever to find helpful scenic products to suit an autumnal scene, and trying something a little different will not only challenge you as a modeller but will lead to your layout standing out from the crowd.  
Why not give it a try this autumn, making the most of the changing season to get out and about to study the real world, before trialling some new materials on a small diorama as a test bed. Here are a few practical hints and tips to help get you started…  
  
What you will need  
**TOOLS**  
◆ Knife and spare blades  
◆ Tweezers  
◆ Paintbrushes  
◆ Electrostatic static grass planting tool  
  
**TOP TIPS FOR AN AUTUMN LANDSCAPE**

  
◆ Fallen leaves – sprinkle leaf scatter material onto wet adhesive, at the base of autumnal trees, pavements and around the edges of fields or other areas where they may collect, blown by the wind.  
◆ Deciduous trees – if you want to add bare deciduous trees to your layout, sea moss that has been sprayed with dark grey paint is a good way to represent bare trees.  
◆ At the lineside – plant tall faded static grass fibres and a few tired looking plants.

  
◆ Gardens and Allotments – the main growing season is over, but some late-blooming flowers will be seen, along with some fruits and berries. Tall grass will be changing colour to a more faded appearance.  
◆ Figures – people are starting to wear coats, scarves and hats.  
◆ Cars – open topped convertibles have been put away for the winter, and vehicles will get dirtier quicker from wet weather and muddy tracks.  
◆ Scatter materials – use autumn coloured scatter very sparingly. Even just a little orange or yellow will drastically change the look of a landscape.

  
  
**PETER’S PICKS: AUTUMNAL SCENIC PRODUCTS**  
Many scenic manufacturers produce autumn-themed scenic products. Woodland Scenics’ yellow Flowering Foliage and packs are good for adding colour to hedgerows and gardens, as are the finely powdered Flowers packs, available in yellow, red, white and orange. Meanwhile, the same manufacturer also offers packs of fine coloured foam foliage, which needs to be separated into tiny pieces to represent leaves or foliage. Briar Patch Dry Brown, which is a natural twig-like material covered with brown fine turf, is handy for making autumn hedges, foliage on trees or just by using small pieces as low autumn vegetation.

  
Heki autumn leaf packs feature several shades in one packet, and Polak produces very fine scatter materials in small plastic pots, including yellow and orange shades. As with all scatter materials, autumn colours need to be applied carefully – too many leaves and a tree will not look realistic Anita Decor autumn leaves have a good range of colours in one pack, although the leaves are a little coarser than those offered by Heki and Polak.

  
Magileaf is a natural, granular product that is good for mimicking tree and shrub foliage. Sold in nine different colours and textures (0.25mm or 0.5mm leaves), they can be applied like regular scatter material. Used sparingly, they give an excellent representation of individual leaves.  
Model Scene is also a good source of autumn leaves, such as exquisite maple leaves. These are available from several retailers in the UK, including Model Scenery Supplies.

  
Primo Models is well known for its high-quality trees, bushes and grass tufts. Three different heights of dry larch trees are branches are well captured. Other species available – 8-12cm, 14-16cm and 18-20cm are available, including some with autumn – with foliage that has various shades of foliage, suitable for scales from ‘N’ up to green and light brown. The familiar sagging ‘O’ gauge.

  
**USEFUL WEBSITES**  
**◆ Anita Decor:** _:a[www.anitadecor.nl]{href='https://www.anitadecor.nl' }_  
**◆ Heki:** _:a[www.modelmasters.co.uk]{href='https://www.modelmasters.co.uk' }_  
**◆ Magileaf:** _:a[www.dcctrainautomation.co.uk]{href='https://www.dcctrainautomation.co.uk' }_  
**◆ Model Scene:** _:a[www.modelscenerysupplies.co.uk]{href='https://www.modelscenerysupplies.co.uk' }_  
**◆ Polak:** _:a[www.polakscenics.co.uk]{href='https://www.polakscenics.co.uk' }_  
**◆ Primo Models:** _:a[www.primomodels.co.uk]{href='https://www.primomodels.co.uk' }_  
**◆ Woodland Scenics:** _:a[www.bachmann.co.uk]{href='https://www.bachmann.co.uk' }_   
**◆ WW Scenics:** _:a[www.wwscenics.com]{href='https://www.wwscenics.com' }_  
  
**IMPROVING READY-MADE TREES**

I began by pulling away the original foliage, which only took a couple of minutes, revealing the bare skeleton of the tree.  
There are many tree manufacturers making autumn seasonal models, although some may appear too vivid and gaudy. However, it’s possible to improve their appearance with a little work, replacing the supplied foliage, or simply adding different shades of scatter material over the top.

Brown poly fibre, from WW Scenics was then gently teased out and fixed to the branches with a light misting of extra hold hairspray.  
**Product:** Woodland Scenics Premium Fall Maple Trees  
**Price:** £20.50 (Pair)  
**Availability:** Bachmann stockists  
**Web:** _:a[www.bachmann.co.uk]{href='https://www.bachmann.co.uk' }_

It didn’t take long before the Woodland Scenics trees were finished and planted into the scene. I was much happier with the subtle colouring and textures.

A blend of autumn coloured leaves of differing textures was created. The tree was sprayed with hairspray, and the leaves were lightly scattered into place.

This autumnal maple tree by Woodland Scenics has thick and bright foliage that was too vivid and dense for my tastes.  
  
**SEA MOSS TREES**

With the sea moss trees prepared and pushed gently into a block of foam, they can be misted with an aerosol of dark grey acrylic paint.  
Sea moss has the potential to make superb looking trees. Sort the contents of the box into pieces that look like full trees and those that are more suitable as bushes. Remove the seedpods and crush them between your fingers to create a useful natural scatter material that can be employed later.

I created a blend of Anita Decor and Polak scatters in a plastic tray, aiming for a combination of shades and textures.  
Sea moss is fragile, but it can be strengthened by soaking the material overnight in dilute PVA. Trees intended for foreground scenes can have the trunks thickened by brushing on a tree bark paste. When this is dry, spraying the sea moss with a dark grey or brown acrylic paint (from an aerosol) is also helpful, before the scatter material is applied.

When happy with the scatter materials’ coverage, a further coat of hairspray seals the foliage in place.  
With a production process, it’s possible to create a small forest’s worth of sea moss trees in far less time than other ‘make your own’ tree kits.  
Once complete, plant the tree by drilling or punching a suitable hole into the landscape, pushing the truck in gently and bonding with PVA glue.

Planted into the scene, the sea moss trees provide a welcome array of tones and textures, contrasting with neighbouring evergreen tree species from the Primo range.  
**Products:** Forest in a Box sea moss trees (£19.99), Flexi-Bark paste (£6.99)  
**Availability:** Green Scenes  
**Web:** _:a[www.green-scenes.co.uk]{href='https://www.green-scenes.co.uk' }_

The sea moss was coated with extra hold hairspray and, working over a shallow cardboard box, the scatter blend was sprinkled over the tacky adhesive.

The seed pods, which have to be removed from the sea moss before use, can be crushed and used as a scatter material around the bases of trees.  
  
**PETER’S TOP TIP**

  
It is worth studying leaves that have fallen to the ground in autumn to see what colour shades are found in the natural world. This image shows four leaves dropped by a maple tree last October, charting the transition from green to yellow and red/brown. The challenge is reproducing these shades in miniature without the colours being too bright.  
**CREATING AUTUMN BRACKEN**

The brown bracken was positioned near the base of a tree, next to a path. Not all bracken turns brown at the same time, so a blend of green and brown can be seen together.  
In real life we see bracken and ferns in many locations, especially close to woodland or along the sides of railway cuttings or embankments. Packs of laser-cut bracken and ferns are available from Scale Model Scenery and Model Scene, in either summer green or autumn brown.

Even in late summer not all bracken is green. This image was taken in August, in the English Lake District, and shows a mixture of green and dry brown bracken.  
The individual plant fronds are easy to cut from the backing sheet with a sharp knife and teased into suitable shapes with fingers or tweezers, before glueing into the landscape using a spot of PVA glue. Drop a little scatter material over any excess glue to disguise it.

The individual fronds of Model Scene’s laser-cut bracken need to be cut from the fret with a sharp scalpel and teased gently into shape.  
**Product:** Model Scene Bracken fern (VG7-030)  
**Price:** £6.45  
**Availability:** Model Scenery Supplies  
**Web:** :a[www.modelscenerysupplies.co.uk]{href='https://www.modelscenerysupplies.co.uk' }

Workbench  
**George Dent** explains how a layered approach to weathering has given a pair of Rapido’s excellent BR Fish vans a suitably lived-in appearance.

A layered approach to the weathering of these vans has produced an authentic, work-stained appearance. PHOTOGRAPHY: GEORGE DENT

  
  
What you will need  
**SHOPPING LIST**  
◆ Enamel weathering washes Light grey oil paint Thinners Paintbrushes Semi-gloss aerosol based clear coat  
**Availability:** Model shops or _www. :a[scalemodelshop.co.uk]{href='https://scalemodelshop.co.uk' }_  
◆ LifeColor acrylic paints and dry pigments, airbrushes and equipment  
**Availability:** _:a[www.airbrushes.com]{href='https://www.airbrushes.com' }_  
◆ RailMatch Frame Dirt and Weathered Black enamel paints and thinners  
**Availability:** _www. :a[gaugemasterretail.com]{href='https://gaugemasterretail.com' }_  
**TOOLS**  
◆ Paintbrushes  
◆ Cotton swabs (lots of them!)  
◆ Airbrush and equipment (optional)  
**I**’m a self-confessed wagon nerd at the best of times, but the arrival of Rapido’s BR Fish vans a few months ago really pricked my interest. As our review in the June issue (MR339) stated, the BR blue and Departmental versions produced by Rapido offer modellers of the 1970s and 1980s eras something a little different.  
Although based on earlier designs, the BR Diagram 1/801 vans emerged in the early 1960s, designed for the speedy carriage of freshly landed fish from coastal ports to urban centres, most notably to London’s fish markets. The long wheelbase chassis, roller bearings and provision of vacuum brakes and through steam pipes, the vans could operate within express freight or passenger services, while the insulated bodywork kept the produce as fresh as possible.  
Alas, rail-borne fish traffic plummeted during the 1960s, thanks to the development of road transport alternatives, ceasing altogether in 1968. As a result, these relatively new vans were pressed into use on other commodities, with the high-speed facility lending them to parcels traffic. Many examples were also cascaded into the Departmental fleet, for use as tool and equipment vans.  
Indeed, it’s their use in parcels traffic that has long fascinated me, as I love collecting shabby rail blue stock for my mail and newspaper trains, which are hauled by equally careworn blue diesels. The pristine sample models supplied by Rapido for review, as impressive as they were, clearly needed a bit of attention to allow them to blend in with their surroundings.  
Initially, I intended to treat the BR blue van alone, as this version is more appropriate for most of my layouts. However, ‘in for a penny, in for a pound’, as they say, and treating a couple of models in a similar way usually adds little time to the overall project and also helps reduce any potential waste of excess paints and materials.  
That said, it’s the treatment of the blue van that is the main focus of this demonstration, as the layered approach I adopted was tailored towards creating a slightly faded appearance to the paintwork, before the ‘grime’ coats were applied. The subtle shifts in tonality do not show up as clearly in the photographs, but in real life the difference from the original finish is discernible and helps reinforce the story of this vehicle’s working life, operating day and night throughout all weathers.  
Working in stages demands patience, as each application of paint has to dry out completely before continuing. The use of oil and enamel paint prolongs things, with several days required for the solvents to evaporate completely. It’s possible to rush things, if you must, but there’s a good chance you’ll spoil the previous layer, as fresh paint softens the earlier coating, even if the surface feels dry.

White freight wagons would not stay clean for long, especially in the era of steam and early diesel traction.  
**SEAL THE DEAL**  
Employing a sealing coat of clear varnish offers protection to the preliminary ‘fading’ stage, once the surface is fully dry, and is highly recommended. But that adds even more drying time, I’m afraid. Hence, these are the kinds of jobs I have on the go alongside other projects, as the work can be done in stages of about 30 minutes at a time, before the models are left for a few days.  
The airbrush, although not essential, does add the final flourish, as there are few viable alternative means of creating such a finely misted coating of paint over a three-dimensional surface. I applied just two paint shades through the airbrush, using it to soften the harsh brush strokes left behind from adding the textured coating to the underframe and the streaks of weathering wash applied to the roof. Similarly, the airbrush gave the body sides and ends that distinctive, hazy coating of dust emanating from the rails (achieved with the brown Frame Dirt shade) and weather staining from above (using the darker blend of Weathered Black and Frame Dirt).  
A look at images of the real thing – or contemporary equivalents – is a great source of inspiration, noting the different textures and tones that tend to build up on underframe surfaces, bodywork and roofs. And it’s worth pointing out that all of the stages employed here are reversible up to a point. The use of slow-drying oil- and enamel-based paints not only gives you more time to manipulate the effects, but also allows them to be wiped clean with the aid of suitable thinners before the paint hardens completely. Only the aforementioned clear varnish coats, applied via aerosol, provide finality, as these can be murder to remove without making a mess.  
As ever, practice breeds familiarity, which begets confidence, so trialling these techniques on older models is a great way of learning and experimenting. There’s no single ‘right way’ of doing this kind of thing – if the finished model looks good to you, then you’ve succeeded. But maybe you’ll find slightly different methods that suit you better. All power to your elbow!  
  
**KEEP ‘EM CLEAN**

  
The wheels of your humble freight stock may not be required to collect power from the rails, unless you’re powering working tail lamps or suchlike, but it’s vital to keep them clean, especially after a weathering job. Remnants of paint, thinners, dry pigments or oil and grease, unless cleaned away, will simply be deposited on your track as the wagons move around, leading to dirty rails and poor locomotive performance.  
With an effective cleaning fluid, such as Deluxe Materials’ Track Magic, it takes a couple of seconds to clean each wheel tread and flange using a cotton swab. You may be amazed to see just how much dirt you remove from each wheel! Repeat the process of dipping the swab in the fluid and wiping it over the wheel until the cotton fibres remain clean, then move on to the next wheel.  
It’s also good to wipe the tips of pinpoint axles too, to keep any dirt or debris out of the bearings.  
**STEP** **BY** **STEP**

**1** Tube-based oil paints are great for weathering. They dry slowly and are easily manipulated, or removed with a matching thinner. Here, I’m applying small spots of grey to each panel, where the paintwork is likely to appear lighter.

**2** With cotton swabs, I wiped the grey oil paint over the sides in vertical strokes, until a feint hue remained. I didn’t need thinners, but I change the swabs regularly. Use vertical strokes to emulate natural streaking effects.

**3** It took a while to work around both sides and ends, taking care not to leave fingerprints on the surface. Remove as much of the oil paint as you desire, until the fading effect is pleasing. Then leave the model to dry for a few days.

**4** To preserve the fading effect I gave the model a light coat of semi-gloss clear varnish. When this had cured, I blended matt black acrylic with dark brown pigment to create a textured coating, which was brushed onto the chassis.

**5** The textured paint mix was also brushed over the roof, using lateral strokes. When dry, this blend will have an ultra-matt sheen, with the texture resembling years of dust and grime.

**6** A dark brown enamel wash (exact shade isn’t important) was brushed over the bodywork, working the pigment into recesses and allowing it to settle naturally. It helps to work on one side at a time, with the model laid flat.

**7** The wash was allowed to dry until it turned to a matt sheen. Then, I wiped away the bulk of the wash with swabs, working in vertical strokes and leaving pigment around the ribs and rivet detail, as well as recessed panel lines.

**8** This stage demands patience, but there’s no need to rush, as the wash remains workable for an hour or so without the need for thinner. Remove as much of the pigment as you like, until the surface looks right to you.

**9** Regular cosmetic cotton swabs were used for most of the work, but pointed buds will be useful to reach into tighter spots. You can get them from cosmetics counters or model shops, but they’re a bit more expensive.

**10** In the event of too much wash pigment being removed – as was the case on the parts of the white van – a fine brush can be used to run more of the wash into any recesses or along the edges of raised features.

**11** The enamel wash was applied to the roof with a wide flat, soft-bristled brush, working from side-to-side to mimic streaking effects brought on by rain running off the roof. Allow the model to dry for at least 24 hours before continuing.

**12** Final weathering work was done with an airbrush, initially loaded with thinned RailMatch Frame Dirt enamel. The paint was misted very lightly around the chassis detail, softening the appearance of the earlier textured coating.

**13** Once the underframe was treated, the same dirty brown paint was misted along the side frames and lower edges of the bodysides and ends. Just a fine mist is required. Practise your control of the misted paint on scraps of paper.

**14** Moving to a darker shade, blending some Weathered Black into the Frame Dirt and adding a more thinner, the new spray gently mistied over the roof, in a side-to-side pattern. I also targeted this along the upper sides.

**15** Finally, give the faces of the wheels a misting of paint to remove the coarseness of the textured acrylic. Allow everything to dry overnight then clean the wheel rims (see panel) and reassemble the models.

## It's perfect for any rail enthusiast | just £9.99\*

To mark 200 years since the 1825 opening of the Stockton & Darlington Railway and the beginnings of modern rail, the editors of _RAIL_, Steam Railway and Model Rail magazine have created this **:a[special 228-page souvenir edition]{href='https://magsdirect.co.uk/magazine/rail-200-magazine-the-story-of-our-railways-since-1825/?utm_source=model-rail.co.uk&amp;utm_medium=referral&amp;utm_content=rail200bookazine&amp;utm_campaign=bau_transport' } to commemorate the auspicious bicentenary,** and to tell the story of rail in a way it’s never been told before…

This collaborative first will trace the past, present and future of rail over three centuries. **Lavishly illustrated over 228 pages**, it will use fabulous pictures, extraordinary facts and amazing figures to tell **the story of rail in a way it’s never been told before**.

As well as rail’s glories, with all the **key landmarks and events**, it will also take some detours to shine a light into **the secret corners and unexpected episodes in rail’s history**, and explore how it has shaped and continues to shape our home and work lives, the places around us and the future of world travel.

Here are just a few of the features we know you'll LOVE...

Pick up a copy from your local newsagent, Tesco, Morrisons or WHSmith! :a[Or purchase one here]{href='https://magsdirect.co.uk/magazine/rail-200-magazine-the-story-of-our-railways-since-1825/?utm_source=model-rail.co.uk&amp;utm_medium=referral&amp;utm_content=rail200bookazine&amp;utm_campaign=bau_transport' }.

T&Cs: \*£9.99 price is not inclusive of delivery charges on Great Magazines. Total cost is £11.49 with P&P. Shop price is £9.99. Offer only available while stocks last.

  
◆ **GAUGE** ‘OO’ ◆ **MODEL** Accurascale ICI hoppers ◆ **PRICE** £79.95 per twin-pack ◆ **AVAILABILITY** Accurascale stockists **Web** _:a[www.accurascale.com]{href='https://www.accurascale.com' }_  
  
**O**riginally manufactured on behalf of Hattons, by Oxford Rail, the famous ICI limestone hoppers first appeared as RTR models in 2018, selling through extremely quickly. As someone with a passion for Peak District stone trains, I sadly missed out on these models first time round and have been deterred by subsequent high prices on the pre-owned market.  
Thankfully, after the demise of the Merseyside retailer, Accurascale secured the tooling for the hoppers, with a new production run arriving a little earlier than originally planned. Built from the late 1930s until 1953, over three different batches, by Charles Roberts in Horbury, the sturdy steel wagons were ordered by ICI to transport crushed limestone from Tunstead Quarry to the soda ash plants in Northwich.  
Representing some of the first high-capacity hopper wagons to work in the UK, they lasted in frontline use until 1997, being withdrawn due to a lack of air brakes, as many examples were still in good condition – a testament to the quality of design and construction.  
Offered in 15 different twin-packs, Accurascale kindly supplied three different pairs for review, spanning the 1950s-1973 (pre-TOPS), 1973-1992 and 1992-1997 periods. Accordingly, each set of wagons feature slight detail and lettering differences to suit each era, most notably in terms of bogies, as the tooling caters for the original diamond frame pattern and later plate-style frames, the latter featuring either oil or roller bearing axleboxes, according to era. There are also variations in the size of the raised ICI lettering, as per the real thing, while the later set has the characters removed.

  
**IN DETAIL**  
These are impressive models, with the open frame chassis being delightfully captured, along with the various hopper support brackets and a veritable sea of rivet head detail. The vacuum cylinders at each end, with attendant pipework, look the part and the hopper door control gear is also accurately rendered, as is the hopper interior.  
Metal bufferheads (un-sprung) have a refined profile and NEM coupler pockets, although fixed to the underside of the chassis, have flexible pivots to help the wagons cope with second radius curves. The wagons feel fairly light, each weighing-in at 46g, but the finely profiled three-hole disc wheels rotate freely on their axles and all six of our samples ran faultlessly under test conditions.  
" These are impressive models, with the open frame chassis being delightfully captured, along with the various hopper support brackets and a veritable sea of rivet head detail "

  
The drab grey paintwork is evenly applied and the various printed number and information panels are crisply printed and fully legible. Coupled with the excellent surface relief and a wealth of detail, the overall effect is satisfying.  
Anyone with an interest in the limestone and aggregates traffic from the Peak District – and the North West freight scene in general – will be tempted by these new models. The prototype's long career saw them hauled by a wide range of classic locomotives, from the LMS '8Fs' through to Class 25s, pairs of '20s', Class 40s and 'Peaks' and, latterly, by pairs of EWS Class 37s.  
It's great to see the Hattons tooling enjoying a new lease of life.  
_(GD)_

**1** Distinctive open frame chassis replicated faithfully.

**2** Early and later style bogie frames feature.

**3** Vacuum brake gear at each end is well crafted.  
  
SUMMARY  
**PROS**  
● Looks and fidelity.  
● Impressive level of detail.  
● Finish.  
● Smooth runners.  
**CONS**  
● Nothing.  
FINAL VERDICT  
Excellent – a very welcome return.

Workbench  
Always happy to try new materials, **Peter Marriott** experiments with an interesting range of modelling sheets that hail from Belgium.

  
**W**hile visiting a model railway show in Belgium last September, I came across several products with great potential for use on modern image, UK-outline layouts. One product, produced by Modeltex, really caught my eye.  
Consisting of foamboard coated with printed surface overlays, the sheets are available in A3 and A4 sizes, offering realistic materials to mimic concrete retaining walls and all manner of ‘panelled’ concrete ground coverings, some ostensibly aimed at airfield scenes, plus larger panels suitable for internal and external areas of hardstanding.  
There are also asphalt and roads (with lane markings). Just the thing for a contemporary depot, goods terminal, warehouse or even a dock scene.  
I opted for the Stelcon New pack. Stelcon is a heavy-duty form of concrete base commonly found in industrial locations, especially where heavy equipment is in operation. There’s also an option for ‘used’ Stelcon, which features a more weatherworn appearance.  
The printed coatings look convincing, with varying degrees of subtle – or extensive – weathering. Some also feature areas of graffiti for gritty, urban environments. They feature a waterproof finish, so they’re less likely to smudge upon contact with waterbased paints and adhesives.  
The basic sheets are 3mm thick and they’re designed for ‘N’ gauge or ‘HO’/’OO’ layouts. Having chatted to the Modeltex team, there’s a good chance that these sheets will be offered in other scales in the future.  
While the printed detail looks convincing, thanks to the use of foamboard as a backing material, it’s possible to introduce extra surface texture using a variety of tools. The sheets possess a slightly satin finish, but once cut and installed, they can be toned down easily with a spray of matt varnish from an aerosol, which will also seal in any weathering (dry pigments would be worth trialing) or painted areas, while also offering a greater protection against UV light and subsequent fading.  
I am pleased with the results of my first test of the Modeltex material which, incidentally, can be ordered online and shipped to the UK.  
  
What you will need  
**TOOLS**  
◆ Craft knife and spare blades  
◆ Cutting board  
◆ Steel rule  
◆ Paintbrushes  
◆ Clay shaping tool  
◆ Wooden cocktail sticks  
**STEP** **BY** **STEP**

**1** The first step is to cut off the header from the Modeltex sheet, using a sharp craft knife, steel ruler and self-sealing cutting board. I found it best to cut gradually through the thick material, over several light strokes. A fresh blade helps.

**2** Due to the nature of the foamboard backing, the material will retain any impressions pushed into it. A steel clay cutting tool or a wooden stick can be useful for creating indentations into the top surface, especially recessed seams between the concrete panels, guided by a steel rule.

**3** For my diorama, I wanted to feature a railway line running through the concrete apron, so I cut a channel into the material to match the ‘OO’ gauge track. Again, I cut gradually through the board to achieve a clean, accurate cut.

**4** To allow the in-fill strip to sit between the rails, I chamfered the underside of each edge to give clearance for the moulded rail chairs and fasteners. The width of the infill also had to allow sufficient clearance for the wheel flanges of rolling stock.

**5** To colour the white, exposed edges of the Modeltex board, I used a pair of grey and brown weathering wash shades I had to hand, which did the trick well. They were brushed along the edge of the foam and allowed to dry.

**6** It took time to get the Modeltex board set at the right height in relation to the rails, which need to sit slightly proud of the surface to allow them to be cleaned. Eventually, I settled on mounting card fillets.

**7** Woodland Scenics Scenic Glue was used to fix the Modeltex and card in place, although most PVA formulas will be suitable. The infill strips were added too, ensuring an even gap to the rail on each side and double-checking wheel clearance.

**8** Here’s a finished diorama. Adding imprints into the Modeltex sheets gives the surface more effective relief, and some weathering alongside and between the rails adds extra realism. The concrete retaining walls are also formed from Modeltex sheets.

Workshop  
**Dave Lowery** gives us a taste of what’s involved in the assembly of a modern ‘O’ gauge metal wagon kit.

  
**W**ith the big manufacturers flooding the market with high-specification locomotives and rolling stock, the ‘modelling gap’ is really at an all-time high. The ‘gap’, I should explain, is the difference between those who make models and those who buy them.  
In the old days, many of us got going in modelling by improving ready-to-run models which, at the time, were pretty basic. But the act of fitting wire handrails and other etched metal detail parts, in place of bulky plastic mouldings, allowed us to build useful skills and experience with precision tools, as well as experience of soldering and painting techniques. While it was a minor inconvenience, we didn’t think much of having to cut off a plastic chimney and fitting a new – and more accurate – metal version.  
With modellers now spending hundreds of pounds on new locomotive models, who has the bottle to take a hacksaw and start cutting it up? And do they need modifying anyway? Where has all the fun gone?!  
Seriously though, I’m not the only one who worries about a lack of traditional practical modelling skills among fellow hobbyists, especially younger generations. While they may be whizzes at DCC and computer control, I do think some modellers are missing out on the challenge and reward of building kits, especially rolling stock subjects.  
Making that first jump into building a kit can be quite a big deal. However, plastic wagon kits are an excellent place to start, while some whitemetal kits can be glued together with epoxy, contact and cyanoacrylate adhesives. But an etched brass kit can be especially daunting.  
And that’s where _Model Rail_ magazine, with its range of step-by-step modelling projects, really comes into its own. We have several kit-building features currently in the works, across various scales and materials, which will be appearing occasionally in the Workbench section.  
As a taster of what may be involved in a typical metal wagon kit, here’s an overview of how I built a TEA 100ton bogie tank wagon, using a PRMRP kit. As it is ‘O’ gauge, the various etched and cast bits are nice and big, so they not only show up well in the photographs, but they’re easier to handle too.  
The various techniques employed here are applicable to all manner of kit-building tasks, as well as other aspects of the model railway hobby. Soldering is a prime example, being a skill that’s much more straightforward than many people think, and one that opens many possibilities.  
Naturally, nobody starts off with a huge suite of tools that make the job easier – they’re usually acquired along the way. There are lots of fancy implements to spend your money on if you like, but there are also plenty of cheaper, simpler alternatives.  
One thing that is essential, however, is a decent soldering iron with enough power to get the workpiece up to the necessary temperature to form reliable solder joints. A tool with a 50 Watt rating should suffice for many tasks, although a more powerful version (80 Watt perhaps) is better for working on larger components. Furthermore, a temperature-controlled iron also offers up the chance to work with different materials and solder grades, including whitemetal parts. A modest investment on a good iron set-up at the outset should provide a lifetime of use.  
We’ll go into more detail about tools, soldering and materials in a future issue. For now though, let’s get building…  
  
What you will need  
**SHOPPING LIST**  
◆ Model: PRMRP TEA 100ton tank wagon kit  
**Price:** £85.00  
**Availability:** PR Model Railway Products  
**Tel:** 07807 225801  
**Web:** _:a[www.prmrp.com]{href='https://www.prmrp.com' }_  
**TOOLS**  
◆ Stout knife and blades  
◆ Files  
◆ Pliers  
◆ Metal snips  
◆ Steel rule  
◆ Set square  
◆  Abrasives   
◆ Soldering iron and equipment  
**STEP** **BY** **STEP**

**1** The PRMRP kit consists of etched brass and cast whitemetal components. Take your time cutting out the parts from the fret, preferably with snips or a stout knife over a piece of wood. Clean away any burrs with a fine file.

**2** The next stage is to form the brass components into the required profile, paying close attention to the instructions. In nearly all cases, the half-etched fold lines should be on the inside of the bend, allowing the brass to fold more easily.

**3** This set of metal bending bars take care of folding job, but the parts still need finishing off with flat-nose pliers, which can be used if you don’t have bending tools. Work slowly along the piece making sure there is no twist.

**4** Having formed the long chassis frames, there are plenty of smaller sub-assemblies to tackle. Always take time to ensure parts are folded exactly square, checking with a set square. This ensures accurate joins.

**5** The sheet provided for the tank barrel comes partially rolled, but it needs to be formed into a tighter diameter to allow the seams to meet (see panel on page 63). Check the profile by test-fitting the cast ends into place.

**6** When you’re happy with the barrel, the seam can be held with a strip of tape while soldering. Work outwards from the centre or from one end to the other, using flux and plenty of heat to ensure the solder flows into the joint.

**7** Clean away flux residue from inside the cylinder before fixing the end castings in place. A low-temperature soldering iron and special solder is essential for bonding whitemetal parts, as the material has a low melting point.

**8** Tidy up soldered seams with a broad file and/ or emery paper. A hand power sander is helpful, tackling the excess material quicker and producing a smooth finish. Look out for gaps, apply filler, then sand again when dry.

**9** Using the assembled barrel as a guide, adjust the end chassis sub-assemblies to fit and work out the required length of the main channel frames, marking them carefully before cutting to size. Ensure the cut ends are square.

**10** The main chassis frame can be assembled, checking repeatedly that everything is square and true. Once the channel sections are bonded, the brackets and equipment mounts can be added, following the supplied diagrams.

**11** The chassis can then be soldered to the barrel and the ends. Making one or two ‘tack’ solder joints initially will make it easier to adjust if something is off. Only make the final bonds when you’re 100% sure.

**12** The riveted flitch strips are then added at each end. I used a lower temperature solder for these, ensuring the parts didn’t have to be heated excessively, which could loosen the previous chassis bonds.

**13** Apply a length of tape around the barrel, cutting it to length against each side frame. Remove the tape, lay it flat, and mark the centre. Then reapply the tape to guide the upper longitudinal centre line of the tank.

**14** The catwalks need to be folded to shape, bending the mounting leg tabs under, and tinning each of these with small blobs of solder.

**15** Using centre marks, align the catwalk and clamp with a weight. Apply flux and then gently apply heat to the pre-soldered tags with the iron or a mini blowtorch. This will re-melt the solder on the tabs and bond them to the barrel.

**16** Having added a catwalk, a steel ruler can be taped along the top of the tank to align the next section. Again, the tabs were pre-tinned and bonded to the barrel in the same way, taking care not to dislodge previous solder joints.

**17** There are also pairs of shorter catwalks to add either side of the filler hatch locations, and these were formed and installed in the same way.

**18** The ladders must be assembled from individual side frames and brass wire rungs added. My trusty ‘block of a thousand holes’ came in handy, with holes formed for each rung using the side frame as a drilling guide.

**19** With the rungs in position, the first side frame was slotted in place and soldered, followed by the other side. Both ladders were formed at the same time, using over-sized lengths of rod, adding the other side frames in turn.

**20** I carefully separated the two ladders by snipping excess wire and cleaning up the outer sideframes, taking care not to distort the parts, After filing smooth, the ladders were soldered onto the chassis frame and mounting bracket.

**21** Once all the brass work is done, the various whitemetal detail parts were fettled with needle files and abrasives to remove any excess material and casting marks before fixing in place. I soldered most of these parts with a low-temperature iron/solder, although glue is an option.

**22** Using a piece of glass to ensure the wheels and axles are aligned correctly (all four flanges should always be in contact with the glass), the bogie frames were soldered together. Again, glue is a viable alternative (epoxy).

**23** With all the detail castings installed and the bogies mounted, the assembly stage is virtually complete. After a test run, the model was thoroughly cleaned and degreased prior to entering the paint shop.

**24** The wagon and bogies were sprayed initially with red oxide automotive primer, taking care to ensure the paint reached into all corners of the chassis frames. Spray outdoors on a warm, day or indoors and ensure plenty of ventilation.

**25** When the primer was dry, I checked the model over for gaps or imperfections I may have missed. When satisfied, the gloss black topcoats were built up, again using an automotive paint from a spray can.

**26** Allow the topcoat to harden completely before applying transfers and detail painting, such as brake handwheels, axleboxes and so on. I also applied light weathering as these wagons were rarely clean. The bogies were re-attached.  
  
ROLLING MILL

  
Shaping sheet brass into a curved profile can be achieved by rolling under a metal or wooden rod, working in a similar way to a rolling pin. It’s important to lay the brass sheet on a soft surface, such as a pile of newspapers or the rear of a computer mouse mat, so that the downward rolling pressure from the rods is evenly dispersed throughout the metal. The brass will eventually curl itself around the rod. Exerting greater pressure creates a tighter profile, informed by the diameter of the rolling rod.

A rake of grimy TEA bogie tank wagons makes for a typical BR-era freight train. In September 1982, 31162 and 31276 work hard to restart a heavy oil train at Sheffield. COLOUR RAIL

**Workbench**  
**Peter Marriott** shows how 21st-century scenic technology can add realism to your layout’s livestock.

  
**W**e are all familiar with static grass as a way to bring realism to a miniature landscape. The theory is wonderfully simple: you give a small fibre an electrical charge and it stands on end. The result is upright grass, adding depth and detail… and all from the same principle as rubbing a balloon over your head makes your hair stand on end!  
But what else can you apply this technique to? Snow? Yes, but that’s slightly old hat now. But what about sheep?  
WWScenics has been bringing us innovative scenic products for the best part of ten years and what we have here, for me, really pushes the boundaries. Yes, it’s a pack of electrostatic sheep!  
If your layout depicts the British countryside, you’re going to need some sheep. The humble Ovis aries has played a huge part in shaping the British Isles since it was first brought to these shores over 6,000 years ago.  
There were, according to the Department for Environment Food and Rural Affairs, 31.8m sheep in Britain in 2023. They were less commonly moved by rail than, say, cows, but the transport of fleeces was a staple railway commodity up to the 1950s/1960s.  
Cows and pigs can be represented by plastic miniatures but, as the myriad springtime greetings cards will show, sheep are woolly and, thus, don’t look that realistic as a solid lump. That’s why I was keen to try out WWScenics’ new kit. It’s been designed to use WWScenics’ Pro Grass Box but will work with a puffer bottle or an electrostatic grass planting tool, such as a GrasMaster.  
The resulting sheep definitely have a fine, woolly appearance, especially when you put them alongside a plastic sheep. Consequently, this gets a thumbs up from me.  
I wonder how long it will be before we see fluffy ‘OO’ gauge cats and dogs!  
  
**Choosing your sheep**

  
Did you know that there are 60 different breeds of sheep in the UK? And the National Sheep Association reckons that, if you include all the different crossbreeds, there are 90! It’s a list that goes from A (Aberblack) to Z (Zwartbles).  
Sheep, therefore, are not the white clouds with legs that we see in our imaginations. In the same way that it pays to look at real grass before trying to mimic it with static grass, so you need to study some real sheep to gauge their colour and wooliness before trying to model them. Certain breeds are closely associated with geographical areas, so your choice can be linked to your layout’s locale.  
Why not have a browse through _:a[nationalsheep.org.uk/for-the-public/culture/sheep-breeds/]{href='https://nationalsheep.org.uk/for-the-public/culture/sheep-breeds/' }_ to pick your favourite? Bear in mind while selecting that you’ll need to blend the supplied fibres to get a decent colour match.  
  
What you will need  
**SHOPPING LIST**  
◆ WWScenics OO scale Sheep Flocking Kit (£14.99), Pro Grass Box (£52.49)  
**Availability:** WWScenics  
**Web:** _:a[www.wwscenics.com]{href='https://www.wwscenics.com' }_  
**TOOLS**  
◆ Scalpel with fresh blade  
◆ Selection of small paintbrushes  
◆ Sanding sticks  
◆ Woodland Scenics Scenic Glue  
**STEP** **BY** **STEP**

**1** This is what you get in the basic WWScenics Sheep Flocking Kit: 20x resin sheep, a 5ml pot of black paint, a 10g bag of 0.5mm snow scatter, 10g bag of 1mm Beige Flock, a 10g bag of 1mm Black Flock plus a 5ml pot of glue.

**2** The resin sheep may require some attention with a scalpel. Flash needed removing while the legs on some of mine were uneven. Luckily, these issues were easy to fix. Simply make the cuts and then tidy with sanding sticks.

**3** I wanted classic Suffolk sheep with black faces and black legs. Therefore, I used the supplied black paint. While the panel says two hours to treat 20 sheep, I left mine overnight to dry so you’ll need to factor in this extra time.

**4** When you’ve determined the breed of sheep you want to re-create, you’ll need to blend the fibres together for the fleece. I mixed a little of the supplied white and beige on top of the Pro Grass Box metal plate. Don’t turn it on yet.

**5** Brush a little of the supplied white glue onto the sheep’s body and upper legs, being careful not to get glue onto the dried black paint. Then, before the glue dries, clip the Pro Grass Box crocodile clip to one of the legs.

**6** Hold the sheep over the fibres and turn the applicator on. The sheep needs to be held a few centimetres above the metal plate. The fibres will fly upwards and stick to the wet glue. Put the sheep aside to dry for a few hours.

**7** To use a puffer bottle, hold the sheep using a crocodile clip attached to a wooden stick. Hold the sheep a few centimetres from the bottle as you ‘puff’, moving it around to ensure coverage. Leave to dry for a few hours.  
  
**Choosing the right sheep**  
WWScenics offers two different Sheep Flocking Kits. I’ve tested the basic kit because I already have a Pro Grass Box in my tool kit. But WWScenics also offers a pack that includes the Pro Grass Box, for £59.99.  
  
**Peter’s TOP TIP**  
**Always remember...**  
…that sheep are flock animals and like to be in large groups. Three or four sheep does not constitute a flock! So, when you’re planning your sheep scene, make sure you have enough for a decent sized flock, space for them to graze – and that you’ll need to make time to detail them all.

  
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.

## Build more than just memories this summer!

Subscribe and save 70% on shop prices AND enjoy FREE UK delivery, plus receive rewards, discounts and prizes you will love!

**Model Rail magazine is Britain's brightest and most informative magazine for model railway fans.** We cover every stage of the hobby, from buying a first model train set right through to museum standard fine-scale modelling in a lively style that encourages readers to get involved in the world's greatest hobby. Model Rail magazine is full of helpful tips, advice including model train layouts, details on model train sets. **Click the button below for the latest subscription offers!**

**In each issue of Model Rail magazine, you will find:**

Whether you're looking for the latest :a[digital edition]{href='https://www.greatmagazines.co.uk/model-rail-magazine?utm_source=model-rail.co.uk&amp;utm_medium=referral&amp;utm_campaign=summer_all&amp;utm_content=digital_edition_text' } or a :a[monthly subscription]{href='https://www.greatmagazines.co.uk/model-rail-magazine?utm_source=model-rail.co.uk&amp;utm_medium=referral&amp;utm_campaign=summer_all&amp;utm_content=subscribe_monthly_text' }, Model Rail magazine will help you get the most out of your hobby.

The Model Rail app is the perfect way to enjoy your subscription on the go. You can have all your issues stored in one place for easy reading and enjoy handpicked rewards!

  
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

Latest on Model Rail

Latest Magazine

Latest Online Features