Scenic work has started in abundance. Recent purchases of Sea Moss along with various materials from Woodland Scenics, has enabled the team to push ahead. I would like to express my thanks to Peter Warwick for allowing us to raid his box full of scatter and foliage material wh
ich has kept us going.
We have concentrated on the fiddle yard (Radley end) of the layout as there is very little work that can be done at the station end until the main station building and the cottages are constructed. All of these are about 12 months away, regrettably.
The Sea Moss is sprayed with matt varnish and then covered in scatter material. Then it is re-sprayed to hold it all in position. Some modellers use this for trees but I prefer just to make bushes out of it. Small holes are then drilled into the baseboard; a selection of the Sea Moss is broken off the main stalk and glued into position. It then receives another spraying with matt varnish and sprinkled with scatter. The excess is removed, later when the glues are dried, in the old fashion way of stocking over the end of the hoover.

What I have found really useful to use in bulking out the scenery is the waste from the foliage when making trees. The foliage matting produced by Woodland Scenics sheds loads of bits and pieces while working with it. This is saved and put into a bag of its own and then used as a “building up” material in conjunction with the scatters powders.
The photographs show progress around the engine shed, pump house and platelayers hut. The gap around the base of the coaling stage will need attention but as it is not, at present, permanently secured in position, this will be completed at a later date.
After much nagging and bullying from you know who, I spent much of the weekend and a little of yesterday evening trying out different tequniques for painting the etched sign (see previous article).
Over the weekend, I was able to get hold of an even smaller brush (OOO) and clean up some of the edges and cover over some of the slips. A quick rub with the glass fibre pen helped to take the shine off the lettering and a brush over with weaathering powders toned down the white and gave the whole sign an aged look.
I loaded a flat and relatively wide brush with the white paint and then carefully wiped it on a piece of scrap paper until only a small amount of paint remained on the brush. This was then very lightly stoked across the signs so that only the highest parts of the lettering picked up the paint. I repeated this several times until there was enough paint built up on the letters. This method seems to have been very successful, particularly on the GW notice that will be fixed to the side of the goods office. (Incidentally, if you take a look at in the “Martin Smith” collection of photographs on our 





