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R&P Lumber Company

By Ronnie Davis | March 24, 2006

Indoor logging in a small space

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A lumberjack rolls wet timber to the ramp at the R&P Lumber Company sawmill. The “water” is made of clear resin.
Marc Horovitz
Marc Horovitz
引擎没有. 我载着一车空车穿过印度飞跃的高桥,前往德斯特工厂. 布局中这一部分的风景一直延伸到天花板. Real rocks were hot-glued together to form the background.
Marc Horovitz
在对小型铁路项目感到沮丧之后,我对大型铁路项目产生了兴趣, which just did not have the realism I was looking for. At the time, the trains I was using were very low-level models. After comparing prices between HO and large-scale locomotives, 在见识了马尔科姆·弗罗在小空间大尺度下的表现之后, 我完全被迷住了.

Gluing it all together
R&P Lumber Company is my second indoor, large-scale layout. It is a basic shelf-type layout, cantilevered from the wall. The bulk of the scenery substructure, as well as the wooden supporting framework, 是用热熔胶枪和热熔胶棒粘在一起的吗. (在制作这个布局的过程中,我至少用坏了5支胶枪.)热胶也被用作第三只手来固定胶合板,同时螺钉被穿过干墙和螺柱.
在这种布局中,使用真正的岩石而不是石膏是一个明显的选择. 我不想在灰泥上花很多钱,我的院子里堆满了我和妻子最近完成的一个景观美化项目剩下的石头. I had never worked with real rock before, 所以我接受了使用天然原料的挑战, as well as trying a new technique with the hot-glue gun.
After going through hundreds of glue sticks, I was able to obtain the rocky-outcrop effect I was after. This turned out to be a long, 单调乏味的, and expensive process, 就像拼一个看不到尽头的大拼图.

Scenery techniques
Building scenery is what I enjoy most in our hobby. 对于那些正在建造室内伐木布局的大型建模者来说, 聚乙烯纤维, 地面, 合成, green fiber from Woodland Scenics, is your best friend. It’s cheap and a little bit goes a long way if used properly. I use it for groundcover and to make trees. 在我过去的12个布局中,除了3个,我都用过这个东西,我发现当一个布局被拆除时,它是可以回收利用的. I just rip it out, bag it up, and use it again and again.

聚乙烯纤维 works well with white glue or a hot-glue gun. I prefer the glue gun, as it’s faster, 但我必须小心,因为聚乙烯纤维真的很薄,热胶会把它融化到你的手指上.
聚纤维是伟大的使用填充背景和前景空间的布局. It helps to give a dense-woods affect. I just glue it into place, sprinkle some fall-colored groundcover over it, wet it heavily with a 50-50 white-glue-and-water mix, and let it set overnight. Then I add twigs, rocks, dirt, and sawdust.
I use baby’s breath to represent aspens. 我把一束放在一起,喷上浅色和深色的秋色. Then I dip it in white glue, poke it into the 聚乙烯纤维, wet it with the 50-50 mix, and let it dry overnight.

结构 and tall timber
布局的室内部分的所有建筑都是临时建造的. I used a board-by-board technique over a foamcore backing. 室外部分的所有建筑都是改良的鸟舍, sprayed with weather seal to hold up outside. 铁路上的所有建筑都以朋友和家人的名字命名,以反映他们的个性.

There are close to 500 shrubs and pine trees on the R&P. 我使用了几种不同的技术来获得我想要的伐木效果. 大部分松树是用花丝和麻绳在老虎钳上捻成的. Others were made using wooden dowels for the trunks, carved to a point, with holes drilled into them for branches. 花的材料被白色胶粘到合适的地方形成树枝. 小蕨类植物、嫩枝、折断的树枝和轻木碎片也被用作树枝. 所有这些材料都被用来制作线上的其他树木. 造树是一个耗时两年的过程.

Switch controllers
在布局上有几个难以触及和隐藏的开关, 所以我选择使用布局结构前面的拉旋钮来进行切换. 这是一种将开关控制器添加到布局中的廉价方法.
我从当地的Hobby Lobby工艺品商店买了一包大木球,用旧衣架做了驱动杆. 我首先钻了一个孔通过连接杆上的开关点. 然后我把衣架的末端弯成l形,把它穿过洞, 然后钻另一个洞穿过筋膜前面,我想要球的位置(见图2). 我取下了弯曲的衣架,在l型部分焊接了一个对角线部分. This became the pull rod. 我把弯曲的一端放回开关的孔中另一端穿过筋膜的孔. 然后我弯下腰,穿过开关的连接杆,把它粘到合适的位置. The other end of the hanger I put through the fascia. 我在衣架上涂了一些液体钉子,把木球推到上面, 在液体钉干燥的时候,用一把虎钳夹住金属丝.

Modifying the locomotives
在我的每一个火车头被从它的盒子里取出后,它被修改. 首先,如果上面有路名,就用砂纸涂掉. The 出租车 is then removed, primed, and painted. 染色,有时是碎玻璃,然后添加到窗户上. Wood-deck flooring is also added.

Detail parts are sometimes added to the boilers. 一个或两个数字通常被添加,以帮助使火车头的生活. 然后,火车头的其余部分被喷上了来自沃尔玛的纯黑色油漆, with a light coat of gray primer to bring out the rust, which is dry-brushed on as rust-colored chalk, all over the locomotive. 用一个小刷子蘸酒精,然后干刷在粉笔上,可以帮助锈迹固化. (你也可以用酒精和棕色丙烯酸漆获得这种效果.)
After the locomotive is reassembled, 许多欧扎克微雕的细节部分被添加到运行板, 出租车, 锅炉锅筒, 穹顶, and smoke stack.

整个布局由一个芝加哥火车工厂的动力包和一个手持的Aristo-Craft火车工程师控制器控制. 这给了我一个选择,是用动力包还是用无线来运行火车, hand-held remote, so I can watch the train as it passes through scenery.

我从创建这样的布局中得到了很多满足,也有一些心痛 . But all in all, I’ve enjoyed every minute of it.

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