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If you'd like to see all of the photos I took on this first of 2 spraying sessions, take a look at Dunham Studios facebook. When I get a chance over the weekend, I'll post some of the photos here, but with 20 some pictures, it's a LONG process. You'll notice that Roy is wearing a mask and hat. Delia has on even stronger respiratory protection. The Froth-Pak chemicals require users to wear respirators and work in a well ventilated situation. We use all our building fans, roof fans, portable fans and open our doors and windows.

Barbprepped and ready to foamfroth packRoy in mask and hat

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  • prepped and ready to foam
  • froth pack
  • Roy in mask and hat

Here are some of the pictures I took of the foaming. Delia and Roy got a bit more than 2/3 of the way around before they ran out of foam. It was late in the day to break open another 2 canisters and finish the front where the trestle will be. So, since the material needs to be 75 degrees to start, it's sitting in the casting room with the heat at 70 and I'll turn it up to 75+ early Tuesday morning and turn the barn heat up too so the layout will also be warm...especially as we will have to open the vents, fans and windows once they get started. Delia started spraying at the left front and worked her way, heading left, around the mountain along the "back" and around the right end mountain, where she went as far as she could before running out of material. I'll photograph the rest on Tuesday.

Barbspray-2spray-3spray-5spray-6spray-7spray-8spray-9spray-10spray-11spray-12spray-13spray-14spray-16spray-17spray-18spray-19spray-21spray-22spray-23spray-24spray-25spray-26spray-27spray-28starting to spray

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  • spray-2
  • spray-3
  • spray-5
  • spray-6
  • spray-7
  • spray-8
  • spray-9
  • spray-10
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  • spray-28
  • starting to spray (spray-1): This should have been at the top of the series. But better late than never.

The left end, front and back, has been foamed. The right end, front and back, has been foamed. Next Delia foamed the trestle section completing the foaming process. The layout has to air out thoroughly before we go on to the next step which is to remove the protective layers (tunnel stuffing, plastic sheeting, etc.) and begin to carve. No one without protective gear was allowed into the main part of the barn during the spraying and no one can go in as it airs.

Barbback left foamedback right foamedcenter left foamedcenter not yet foamedfoaming in trestle areafoaming above trestle basetrestle base foamed in

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Images (7)
  • back left foamed
  • back right foamed
  • center left foamed
  • center not yet foamed
  • foaming in trestle area
  • foaming above trestle base
  • trestle base foamed in

Delia's back and forging ahead. She's rough-carving the mountains at the right and left ends and cutting the rock face at the tunnel portals. Note how she uses marker  on the foam to indicate where to carve. Meanwhile John has been installing the many signals which will go on this layout. We see him holding a signal and then using the clearance car to check it out for placement before attaching it. As usual we have a "feet-under-the-layout" shot. This is Tom who has been underneath doing wiring for track and signals. It just occurred to me that perhaps you'd be interested in seeing the tools we use for carving. Tomorrow, I'll round some up for a photograph.

Barbcarving's begun on left endclose-up of mountain right rearDelia carves tunnel portalDelia's marker indications prior to carvingmountain carving roughed inroad and mountain on left endJohn checking signal clearanceJohn installing signalTom doing electrics under the layout

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Images (9)
  • carving's begun on left end
  • close-up of mountain right rear
  • Delia carves tunnel portal
  • Delia's marker indications prior to carving
  • mountain carving roughed in
  • road and mountain on left end
  • John checking signal clearance
  • John installing signal
  • Tom doing electrics under the layout

As I promised, here are pictures of the tool assortment Delia uses to carve the scenery. There are knives and blades and metal combs and brushes and more. Each tool has a specific purpose. (Note: no hot wires or electric knives!) Anyhow, Delia's carving away using the collection of research photos as guides. As she finishes an area, she uses the air hose to clear away the cuttings. Roy is ageing the railroad ties and under the layout, Tom is continuing to do his wiring thing.

BarbDelia's assorted tools-1Delia's assorted tools-2Delia blowing cuttings off carved mountainDelia carving right-end mountain topDelia carving, close-upbeginning of carved riverready to carvecarved detailRoy's 'ageing' paintRoy's 'aged' RR ties

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Images (10)
  • Delia's assorted tools-1
  • Delia's assorted tools-2
  • Delia blowing cuttings off carved mountain
  • Delia carving right-end mountain top
  • Delia carving, close-up
  • beginning of carved river
  • ready to carve
  • carved detail
  • Roy's 'ageing' paint
  • Roy's 'aged' RR ties

As Delia forges ahead with her carving, Roy is studying the Quechee Gorge research material (Delia already has) to find pictures of the Gorge walls so that as they emerge from their foam cover they are geologically correct. Remember all rock is not the same and when you're creating scenery on your layout you need to be aware of where in the country you're supposed to be and what the structure and composition of the terrain (not only the rock) is in that specific region.

Barb  Roy studying Quechee Gorge research materialsDelia carving mountain

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  • Roy studying Quechee Gorge research materials
  • Delia carving mountain

The Quechee Gorge client requested that all the inner rail lines be aged with 'rust' while the two outer lines remain silver (although all lines have had their ties 'aged'). So Roy's going ahead with the 'rusting.' Delia uses the curry comb (not a horse in sight!) to prepare areas of terrain for scenic application.  After they're 'combed' and air-blown clean they will be painted and trees, shrubs and grass will be 'planted.' The roughness of the combed surface is just the right preparation for planting (sort of like the real thing).

BarbRoy 'rusting' trackclose-up of 'rusted' trackDelia using currycomb on terrain.

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  • Roy 'rusting' track
  • close-up of 'rusted' track
  • Delia using currycomb on terrain.

Delia's been carving, cutting, combing and brushing the individual layout mountain pieces which she took off the layout to work on. (Whoops, after I said, describing Delia's array of tools, no hot wires, no electric knives, here she is sawing away... my apologies.)You might have noticed some unexplained gaps or two pieces of blue foam back to back with a space between. Those spaces are there to accommodate the backdrop which fits into a slot between 'back' and 'front' layout scenes.

Keep in mind that certain pieces of scenery have to be removable to get through the client's door. They'll be permanently attached after the layout is set up. Here Roy and John (who's been working on the signal system) helped Delia put back those individual pieces she's been working on. Oh yes, and Roy took a picture of me doing something useful (other than taking photos) but decidedly non-artistic.

BarbDelia separating pieces of mountain to carve themDelia brushing piece of mountainDelia widening opening for tunnelDelia working on dismantled mountaincarved pieces of mountainlayout with mountains offRoy passing mountain to Delia to put back inRoy passing mountain to John to put inRoy putting carved piece back in placeJohn checking back to front clearance on signalJohn lengthening signal pole to clear trainsme doing something useful .

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Images (12)
  • Delia separating pieces of mountain to carve them
  • Delia brushing piece of mountain
  • Delia widening opening for tunnel
  • Delia working on dismantled mountain
  • carved pieces of mountain
  • layout with mountains off
  • Roy passing mountain to Delia to put back in
  • Roy passing mountain to John to put in
  • Roy putting carved piece back in place
  • John checking back to front clearance on signal
  • John lengthening signal pole to clear trains
  • me doing something useful

Delia's base painting the rock surfaces with latex paint which, aside from showing color, is sealing the surface of the foam. After she base paints the rock (and general terrain) surface she'll go back over it with an airbrush and add shadows and highlights. Note how even with only base color she's matching the look of the rocks in the research photos. Mike Burke, President of the Upstate Model Railroaders club and does electronics and train work with us, is a retired geologist and said this afternoon that he's really impressed with how accurate Delia's rock work is both in carving and color.

Take a look at the two Quechee Gorge control panels that Fletcher has just finished. Good looking aren't they?Delia painting rocksbase painted rock sectionbasecoated rock section and photogray base paint on rockstarting to match basecoat to photosQuechee Gorge control panelQuechee Gorge control panel-2.

Barb

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Images (7)
  • Delia painting rocks
  • base painted rock section
  • basecoated rock section and research photo
  • gray base paint on rock
  • starting to match basecoat to photos
  • Quechee Gorge control panel
  • Quechee Gorge control panel-2

There's a lot of scenery for Delia to base paint.She emphasizes that BASE paint means exactly that and reminds everyone that the base painting, although it gives an outsider the idea that it's finished, is just the beginning. There's airbrushing and scenic application to come. And then there will be Roy planting trees. But this first coat of paint gives the viewer a feel for how it will all come together. 

There are a lot of signals for the guys to wire and install. John's creating the wiring plan for the signals while Tom's really getting into wiring mode.

BarbDelia painting between the mountainsDelia painting right end mountainmountain in basecoatleft end mountain in basecoatright end mountain from the 'back'Tom working on signal electricsTom getting into his workJohn drawing signal plan

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  • Delia painting between the mountains
  • Delia painting right end mountain
  • mountain in basecoat
  • left end mountain in basecoat
  • right end mountain from the 'back'
  • Tom working on signal electrics
  • Tom getting into his work
  • John drawing signal plan

David, Floor Sweepers are welcome any old time!  But seriously, we're happy to have visitors to the shop.  Just give us a call to see if we're here.  I'm not here as much right now because my Broadway career has just come back to life with a new Harold Prince production of Leonard Bernstein's "Candide" for the New York City Opera.  I first designed Hal's "Candide" thirty-four years ago and it's been all over the country in many different versions, then Broadway and then, after the "Old NYCO" failed several years ago, only "Candide" and  one other production were saved, but sold off.  When the "New" New York City Opera was created last year they asked Hal to create a "new Candide" for production in January 2017.  And it is very much a new production, taking what was best (a lot) from the old, but giving it what might be called a "2017 Attitude".  Same music, same words--but you'll have to come see it to see the differences.  You might call them "tiny, but huge" at the same time.   In any case I'm busy right now traveling back and forth to the many Scene Shops creating the scenery for the new production.  Fortunately the shop doing most of the important Scenic Drops, like the ones you see below, is Adirondack Studios.  Adirondack was also the shop that built the original Citibank Station for Dunham Studios in 1987 (along with many other Opera productions for me).  And, if the project materializes, Adirondack may also be a part of a new Holiday Exhibit for New York City in 2017.

 CANDIDE FULL STAGE IMAGE

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  • CANDIDE FULL STAGE IMAGE: The "New" New York City Opera's 2017 "Candide"
Last edited by Dunham Studios

With Roy and Delia both on the job, the white (and blue) Dow foam has been covered with base paint. You'll notice that the backdrop was removed before they painted anywhere near where it sits and also that the slotted pieces into which the backdrop panel fits have again been removed. They've been painted separately.

BarbDelia & Roy painting scenerybase coat is on across the front when Delia's ready to airbrush the scenery surface.

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  • Delia & Roy base painting scenery
  • base coat is on across the front (and the 'back' too)

Fletcher has finished printing and applying the backdrop graphics to the backdrop. Delia's finished most of the shadow darks over the base coat on the mountains and is putting in the lighter colors, leaving for last the drybrushed-on highlights. Up to now she's used paint brushes, the air-brush, sponges, rags and towels to apply (and lift off puddles of) paint.

You'll notice that John's been running trains to check for clearances and found a spot on the back of the left-side mountain that needed excavation. Better to find these as early in the process as possible and correct them.Mike is, as usual, on his back under the layout wiring track. Tom is still working on signals with an emphasis on the signal bridge. And off to the side, John's grandson Alex, who came to work with him today, is sorting and soldering wire.

Barbbackdrop lying on horsesFletcher holding up finished backdropdivided mountain half with darks only, half with middleground inleft end mountain detail paintedleft end mountain with detail paint onclearance cut into mountainsideMike wiring under the mountainAlex Doty soldering wires

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Images (8)
  • backdrop lying on horses
  • Fletcher holding up finished backdrop
  • divided mountain half with darks only, half with middleground in
  • left end mountain detail painted
  • left end mountain with detail paint on
  • clearance cut into mountainside
  • Mike wiring under the mountain
  • Alex Doty soldering wires

Take a look at the layout with the backdrop in place. Looking good! The bridges have been measured but not yet put in place and remember THE TRESTLE? That's actually built and if you'll look back through the thread you'll see it in pieces. But that will wait to be installed while trees and scenic elements and buildings come along and go into place. The photo of the plywood square is an inside joke for our client who is building the Mill himself as a special personal project.

Barbleft end mountainlong view from left end [2)platform where Mill goesright end mountain and center viewview acrodd from left endview across from right end

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  • left end mountain
  • long view from left end (2)
  • platform where Mill goes
  • right end mountain and center view
  • view across from left end
  • view across from right end

While we were in Philly for Thanksgiving with the family and Clarke had to go into New York for a presentation of his stage set model to the cast and photographers from the New York Times, the gang was busy at work on the Quechee Gorge Layout. Delia's gotten much of the finish painting done on the rocks and mountains, the bridges and walls and tunnel portals which Roy had cast earlier and base painted and installed or is installing as Delia is ready for them. It's interesting to see the research photo of the wooden retaining wall and note how it looks in 'real life.' And those 'rocks and boulders'? They're being sized. They're the real thing...only a bit smaller.

Barbarched stone wall and mountainsbridge on left back of mountainbridges between right front mountainsfinish paint on front viaductleft end tunnel portalsleft front end mountainlong view from left front 11-30-16multiple bridges and tunnel portals from right frontwall with research sketchwall in research photowall in 'real life'tunnel portalsrocks being sized

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Images (13)
  • arched stone wall and mountains
  • bridge on left back of mountain
  • bridges between right front mountains
  • finish paint on front viaduct
  • left end tunnel portals
  • left front end mountain
  • long view from left front 11-30-16
  • multiple bridges and tunnel portals from right front
  • wall with research sketch
  • wall in research photo
  • wall in 'real life'
  • tunnel portals
  • rocks being sized

Roy cast twigs for the logs for the log wall and track supports for the bridge at the right end. Real (cast) logs!  And real stones in the river. What fun. Delia's coated the roadway, and levels for buildings at the left end of the layout, with gray mastic and eliminated the seam in the three-arch stone wall. She's also installed, after painting it, the center between-the-rails section of the two-track tunnel portal at the left end.

BarbRoy holding casts of logscast logs-unpaintedRoy fitting in log track bridgelog wall supportsstones in the rivera coat of mastic on left end roadway and streetthree-arch stone wall without seamTwo track tunnel portal

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Images (8)
  • Roy holding casts of logs
  • cast logs-unpainted
  • Roy fitting in log track bridge
  • log wall supports
  • stones in the river
  • a coat of mastic on left end roadway and street
  • three-arch stone wall without seam
  • Two track tunnel portal

Clarke....I think your layout designs are terrific and this is by no means a criticism.  I live 15 minutes from Quechee Gorge and cross that bridge quite often.  I’m curious as to your reasoning in naming this the Quechee Gorge layout when it really isn’t prototypical?

Route 4 travels over the Gorge, which was once the old Woodstock to White River Junction RR line that was discontinued in the 1930’s. The bridge crossing the 162’ gorge is a single span structure which is quite a contrast to your layout.

Again, please don’t take this out of context, I’m just curious as to why you elected to give this the Quechee Gorge name when it bears very few similarities. 

In RE: "the'canes" question:

I must beg to differ with you about the matter of "how literally" we use the idea of concept.  First of all, we're dealing with O Gauge Hi Rail.  When you deal with O Gauge Hi Rail you are, by definition, dealing with unreality---there's that pesky third rail there, isn't there.  So to begin with, we are dealing with a "suspension of belief".  I put that phrase in quotes because it is one of the benchmark concepts of theatrical design philosophy.  You must, as a result, be willing to accept that everything you see after that, and it must  be believed as a matter of course.  So much for the theory.  The fact is that there is, in fact, only one bridge over the Queechee Gorge and that is, in fact, the former railroad bridge you cite.  So, why not build a Hi Rail Fantasy Layout around it, thereby giving the layout its own reality?  Suspend belief.  Have some fun while doing it.  I do believe that that's what we're supposed to be doing.  God only knows there's enough "real" reality out there to last ten lifetimes.  So, this can become, in my private world, in my private room, my reality.  Just for a few minutes.  Or longer.  I get to decide.  If you buy into that concept, then why not build six bridges or ten bridges over Queechee Gorge.   Maybe reality is actually at fault, not the other way around.  I must confess that Fletcher Conlon and I had a great deal of fun creating this design.  Also, admittedly, this design is the quintessential "ten pounds in a five pound bag".  And as for that Grist Mill and Waterwheel at the base of Queechee Gorge---well, why not?

 

 

Mr. Dunham, for the whole -0.02$ my opinion is worth, that is an excellent explanation.

When emulating the 1:1 world in anything but it's true setting, some suspension of belief is always required.  Of course for others to question the realism in a model RR world is questioning many times someone's art, or interpretation of the actual.  It then becomes their fantastical reality.  Whether a toy train layout or something running quasi-prototypical operations.  Even this layouts which seek prototypical operations in 2 rail O or other scales which push for the closest to 1:1 actual as possible, require suspension of belief as you put it (love that phrase BTW).

So why do others (not just here on this board, or this hobby) try to push their version of the fantastical world onto others?  That is the question I have.  Can we not appreciate the art as it is?  After all, if MRR layouts are not art, then what are they?  Even the fantastic layout by the master and gentleman George Selios is not reality.  It's a very artistic expression of an era long gone.

 

Mr. Dunham,

I can't tell you how much I have enjoyed your posts with pictures and seeing how you bring all of these layouts to life you definitely have a team of artists and it's fun to watch everything come together. I can't imagine what it would feel like having one of your layouts delivered. Thanks again for sharing.

Joe Gozzo

Since I go back and forth between the equally unreal worlds of the Theater and Model Trains, er, Model Railroads, with amazing frequency and, as in now, simultaneously, it is sometimes requisite to keep a firm grip on some kind of reality be it your own or the worlds'.  I especially enjoy this part of the hobby (the Hobby Part) when we get a chance to exchange views and ideas in a way that previously had not existed.  It's good for all of us.

John has been wiring the small and large control panels which he's proudly holding up for us to see. Look at the graphics on the panels. Beautiful, if I must say so myself. Fletcher is preparing the area where the Grist Mill will sit along with its sluceway which is in to the river over which we have a small trestle bridge. I'll show the supports, a side view and the track in place on the bridge.  Roy has painted the logs for the log wall supports and bridge over the river and installed the walls. You'll notice that he had to cut away some of the river for his installation. He'll fill in those cut-away areas with mastic and stones early next week. Oh. we also have trees! Boxes and boxes of them.

BarbJohn wiring back of small panelJohn shows small panelJohn shows large control panelFletcher working on Mill platformlow trestle base structureslow trestle, side viewlow trestle over river, track onRoy's log wall and bridge supports over rivertrees and ground cover

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Images (9)
  • John wiring back of small panel
  • John shows small panel
  • John shows large control panel
  • Fletcher working on Grist Mill platform
  • low trestle base structures
  • low trestle, side view
  • low trestle over river, track on
  • Roy's log wall and bridge supports over river
  • trees and ground cover

Fletcher is fitting cork to the track crossing. Royballasted trackstart ballast on main linemountain top back on left sidemountaintop back on right sideRoy 'rusting' trackRoy 'rusting' track-2large panel with finished wiringpanel-left side deals with train controls & controllerspanel-centerpanel-right side controls lights. Roy has ballasted the whole of the main line tracks (the rest of the track is yet to be done) and is "rusting" some rails for the front of the layout. You'll notice that the mountain tops are back on and the backdrop, swathed in plastic, is again in place. John has finished wiring the large control panel. It's belly up and from this vantage point (which will be the reverse when it is viewed from the front) the left side controls the controllers and the right side controls the lights.

BarbFletcher putting in cork for track crossing

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Images (11)
  • Fletcher putting in cork for track crossing
  • ballasted track
  • ballast on main line
  • mountain top back on left side
  • mountain top back on right side
  • Roy 'rusting' track
  • Roy 'rusting' track-2
  • large panel with finished wiring
  • panel-left side deals with train controls & controllers
  • panel-center
  • panel-right side controls lights

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