17.
18.
17. Two of the signs, as well as the cakes and other window dis- plays are visible here. Note the hint of dirt splashed onto the lower edge of the siding. The texture of the slate sidewalk is ev- ident, as well as the advantage of using individual pieces for both the sidewalk and the curb. The center cake is meant to be a three tiered wedding cake, and is decorated with some of the same roses that adorn the front porch trellis. 18. Real sunlight
instructions, adding two reinforcing braces on the underside of each section to stiffen the assembly. The roof will be removable so Ciro can add lighting or more interior details. The interiors of the gutters were painted with Tamiya flat black acrylic paint, making sure to get under the edges of the roof. I now switched to Scalecoat II Coach Olive and sprayed two light coats onto all the window and door castings, as well as carefully giving the underside of the eaves and outer face of the gut- ters a coating. (If you handle the roof right, you can get a nice clean edge along the top of the gutters without masking.) When the Scalecoat II was good and dry (about two days using the “sniff test,” that is, if you can smell it, it isn’t dry), I came back with Tamiya flat dark green paint to brush paint the roof shingles, as well as going just over the edges on the rakes and eaves. I used a quarter-inch wide chisel-shaped brush for this job, brushing downwards from the roof ridges to the eaves. Any faint streaking will be invisible when the roof is lightly weathered. The Tamiya dark green gives an ex- cellent representation of the dark green roofing materials I remember as a kid. When I was considerably younger than I am now you had a wide choice of colors for a roof. You could have light gray, or black, or dark green, or, well, that was it! Finally, in the mid- fifties or thereabouts, other colors be- came available. When the gray primer was fully dry I used a fine brush and Scalecoat II Coach Olive to give the corner trim boards a couple of coats to match the windows. Finally, after another day or two of drying, I carefully masked the
RAILROAD MODEL CRAFTSMAN
makes such a difference on the completed model. The roses on the trellis are from the author’s scenery scrap box, source un- known, as is the grass. The other flowering plants and grass clumps are from Silflor. This photo, perhaps best of all, shows off the subtle color and texture variations between the various pieces of slate in the sidewalk and curb. For a small project such as this, it was well worth the time and effort.
walls of the storefront and sprayed the frieze boards with two coats of the Coach Olive. On the addition’s roof I used Penn Central Green to represent weathered copper, but flat black would have worked. When the paint was dry I “dry-as- sembled” all the sections and took a hard look at the model. I love the flat gray paint on the walls. Semi-gloss or gloss paint just does not look right on structures, though you can sometimes get away with gloss on the trim. I de- cided the storefront needed a coat of flat before the glazing was installed. The windows and doors were glued in their respective locations, but not the storefront. For now it was left sepa- rate.
The “glass” (.005″ clear styrene: don’t use acetate for glazing!) was secured from the inside with a water soluble adhesive, Locktite Stick-n-Seal®
, using
a toothpick to apply it in small amounts at four or five spots around the edge of the glass. This product should be better known among us. You want the one billed as “No-Mess,” since it is water-based and does not craze the clear styrene window material. If nec- essary, the glazing can be popped out at a later date. The other version is sol- vent-based and may cause problems. Many modelers like Future®
acrylic
floor finish or the canopy cement used by aircraft modelers for this task. There is no easy way to put the glass into the storefront windows. Each of them has four pieces of glass, and there are ribs between each pane of glass on the interior, so you can’t cheat and do all the panes with one piece. All one can do is work carefully and slowly, and accept that you may have to make
some pieces a couple of times. I now added some ³₃₂″ square strip all around the underside of the model, flush with the outer edge of the foun- dation under the house and flush with the edge of the floor but not the siding under the store. When it was dry, I cut strips of brick material from The N- Scale Architect and used it to face the foundation. This looks better that the smooth face of the kit part and gets the store wall up off the ground. As the foundation under the house is now even higher than it was, a cellar win- dow or two could be added. Virtually all older homes in the East were built with cellars under at least part of the house.
Details and scenery A bakery means baking, which needs ovens which need a means to exhaust smoke and heat to the outside. I as- sembled a chimney having three square flues and installed it on the narrow part of the store roof. It’s sim- ply a piece of ¹₄″׳₈″ strip styrene sheathed in more of the brick em- bossed sheet. The cap is a piece of .050″ sheet, and the flues are short pieces of ¹₈″ square tubing. This chimney may be used as a handle to remove the flat roof for access to the store’s interior. It is at- tached to the roof through a hole with a self-tapping screw in it. I also ran some glue into the joint to ensure that the chimney was securely fastened to the roof. The house roof was assembled in place on the walls, but not fastened to them. Thus, all the roofs are remov- able for interior access. The flat roof was covered with 30″
wide strips of single-ply toilet paper set into wet, flat black paint to repre-
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