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Posted - 06/25/2015 :  12:52:28 AM  Show Profile  Reply with Quote
thanks for the picture I'll put it to good use. I must say your coloring of the mill's wall look even better after seeing these pictures today.
I order a block of foam today. My first project will be the same as Jeff's, a bridge abutment.

It's only make-believe

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Posted - 06/27/2015 :  12:55:53 AM  Show Profile  Reply with Quote
Thanks Dave for the ideas on coloring the metal roofing. I appreciate that your ideas work well with how I model in that your base coat hues will work in concert with the final coloring. I for sure am going to have to revisit the coloring, especially that Payne's Grey idea.

Bob - Let us know what you think of the foam once you have had an opportunity to play with it a bit. Feel free to post in this thread your thoughts and pictures of what you come up with. If you are using the soft density foam, as noted earlier, you will probably want to use something like Gesso after carving the foam to add some more stiffness to the foam. I like the Gesso surface for painting, so I use undiluted Gesso all the time on both foam densities.

Let's talk modeling. I've come to the part of the build where I'm starting to assemble the walls. This will require some edges of foam to be carved once the walls are glued together. The difficult task will be coloring the edges to match both wall faces.

Gluing the walls together:
I started by gluing the chute (north) wall to the long (south) wall/west wall with stone extension assembly.
239) As the chute wall is elevated it is necessary to flip the two walls and stone extension assembly upside down on a flat surface. Use foam as needed to support the angle in the west wall.
240) With the chute wall upside down determine and mark where to carve stones across the joint and corner to connect to the stones on both sides to make a seamless corner.
241) Carve and texture the stones on the exposed wall end.

242) Determine where toothpick 'pins' will be located prior to gluing the two walls together.
243) Use a dart or other point tool to mark where to drill pilot holes for the pins.
244) Drill out holes to fit the toothpick pins with a bit slightly smaller in diameter than the toothpicks.
245) Glue the wall corners together making sure that the walls are at a 90 degree angle and toothpick pins are in place in both walls.
246) Use a scrap piece of foam about 1/4 inch square in size and about the height of the wall, to reinforce the inside corner of the foam.
247) Carefully apply spackle to the joint covering as little of the surrounding carved stones as possible.
248) Carve the spackle to match the mortar seams in the carved stones. Use a medium stiff (like a cheap glue brush found in home/hardware stores) *damp* brush to stipple the spackle to add additional texture.
249) Allow the carved spackle to dry.
250) Apply Gesso with a #2 flat medium stiff brush. Allow to dry.
251) Apply diluted Silverwood wash with a #2 soft round. Dip the brush into clear ETOH and then into the Silverwood . Do not remove excess ETOH prior to dipping the brush into the Silverwood. The idea here is to sneak-up on the mortar color of the surrounding colored stones. Due to the spackle, it is necessary to use care to achieve the same coloring as the surrounding stones/mortar. Try to keep excess wash off of the surrounding colored stones. Allow the wash to dry.

I decided at this point that I did not like the footprint. The way the walls are connected did not fit with what I wanted, so I gently tore/cut the walls apart and reassembled the walls so that the exposed wall edges were reversed on the corner as shown in the above pictures. This resulted in a bit trickier situation as glue had sealed the foam and I now have holes where the toothpicks were. The above sequence of steps was repeated, but the foam was much more difficult to carve. I also had to use additional spackle to be able to carve and texture the spackle to resemble the surrounding stones. This brings us to the following picture and where we will resume the assembly sequence.

The wall below shows the opposing edge with the spackle carved and textured, but prior to Gesso being applied.

The wall below has the acrylic Gesso applied.

251) Paint the stones using the same coloring sequence as previously.
252) Apply diluted Silverwood wash with a #2 (approximately 1/2 inch) angled shader. ( http://www.cheapjoes.com/cheap-joe-s-angle-shader-brushes.html )
253) Repaint/touch-up the stones as needed, trying to match/blend the stone coloring as much as possible to the two colored wall faces. Use the final dry brushing of Flesh hues to control and blend the overall hues. Allow to dry.

The painted/blended foam edge and wall corner is shown below. Although not perfect, it is close enough. Sometimes it's wise to quit early and not try for a perfect match/blending of the stone carvings and coloring.

Note that the wall is still damp, so it will obtain a lighter tones and coloring as the paint dries due to the flesh tone used in the final dry brushing step to blend the stones coloring.

Below is with the wall corner dry and showing the lighter hues which were achieved after the wall corner coloring was dry. You can also see how the carved and textured spackle comes close to the surrounding foam stones in size, but is missing the texture and is not as 'fine' in overall detail as the carved foam. You can also see how the wall will blend with the opposite side wall which is in the background.

I'm allowing the corner joint to dry for a couple of days as I work out the angled wall issues prior to gluing the final wall into place. Thus I decided to work on a separate detail which will be hard to view in the diorama.

Simple Horizontal Boiler:
The prototype pictures show a small horizontal boiler sticking through the wall along the creek side. Strange to have a boiler sticking through the wall, and even stranger to have it along the creek. What would happen when the creek floods?

This boiler is shown on the Blazek plans. My original thought was to use a cut down N-scale tank car tank. After reviewing a couple of donated tank cars, I determined that the tank was not of the correct size and that it would take more effort to convert than it would to scratch build.

As the boiler is metal, I have found that styrene is a good medium to use to represent metal. I decided to use styrene over the foam due to my comfort level with styrene, but this could have been an interesting exercise using the foam.

As this boiler will be difficult to be seen on the final diorama, I decided to keep the detailing of the boiler very simple.

254) Used 5/16 inch diameter styrene tubing, Evergreen Styrene #230, to represent the boiler. Cut a length of tubing approximately 5/8 inch long.
255) Sand the cut end flat. I used a disk sander at a very slow speed.
256) Drill a pilot hole for the smoke stack 18 scale inches from the front of the boiler. I used a 1/16th inch bit to drill the pilot hole.
257) Drill or file the smoke stack hole to fit a 1/8th inch styrene tube. I used a cone shaped mini-file/reamer, found in a beading section of a craft or fabric store, to obtain a hole with a tight fit for the 1/8th inch tubing.

Below are the 3 mini-files/reamers which came in a set from the beading section of a craft or fabric store. I think that the large cone (blue handle) can be purchased separately.

258) Cut the 1/8th inch tube to length for the smoke stack. Remember that the tube will rest on the inside bottom of the horizontal boiler when installed, so allow for this when measuring/cutting the 1/8th inch tube. Use a fine tooth miter saw and miter box to cut the tube. My smoke stack is a scale 11 foot in length. This leaves about a 7 foot stack.

259) File/ream the inside of the 1/8th inch tube wall using a thin reamer or needle file to obtain a thin wall on the stack.
260) Cut a piece of styrene to cover the front end of the horizontal boiler. I used Evergreen Styrene #9015, .015 plain sheet styrene. I just cut a small square piece from scrap styrene.
261) Glue the front cover to the 1/8th inch tube front. Allow to dry.
262) Trim excess styrene from front plate.
263) Use a Flex-I-File to sand and round the joint. http://www.flex-i-file.com/flex-i-file.php
(BTW, if you don't have this tool to sand round surfaces, you will find this is a must have tool. This is a common aircraft modeling tool.)

264) Make a rivet strip from .010 x .040 strip styrene, Evergreen #102. Use a fine pounce wheel and carefully/slowly press the wheel on the styrene strip. Place the styrene on a semi-hard surface, like a cutting pad, prior to adding rivets with the pounce wheel.
NOTE: The pounce wheel is used by some modelers to add nail holes. http://www.micromark.com/3-piece-pounce-wheel-set,6668.html
265) Mark the bottom of the boiler with a pencil. This line needs to extend the length of the horizontal boiler.
266) Attach/lock in place with a small amount of solvent the rivet strip using the line on the bottom of the boiler as the starting point. This rivet strip will wrap around the boiler, with the strip edge even with the front of the boiler. This is easily done if the tube is held so the front is flat on a surface and the rivet strip is pulled around the tube. Apply solvent in very small amounts so as not to break the rivet strip.

I was unable to locate my mini-punch, so I had to make use of other 'tools'.

Option Note: I did try to make a dome cover for the front of the firebox. This was easily done using .005 styrene (Evergreen #9009, plain sheet) and a piece of scrap high density foam. Place the .005 styrene on a piece of scrap high density foam. Use the 5/16" styrene tube to punch a hole into the styrene, setting the tube on top of the styrene prior to pushing the styrene tube into the foam. Some minor trimming of the resulting styrene disk may be needed.

267) Make a front plate for the boiler by using some tool to punch a round disk. I used a 3-ring notebook paper punch. Using .015 sheet styrene, a disk was punched and recovered from the paper punch.
268) After verifying the disk was about the right size, I glued the disk to the front the boiler. Make sure that the disk is centered on the boiler front plate. I applied a weight on top of the tube, with the tube face on a flat surface, to make sure that the disk dried flat on the front plate of the boiler.
269) Use the paper hole punch to create a 2nd disk of .015 styrene.
270) Create rivets around the edge of the round disk using the fine wheel pounce wheel.
271) Glue the 2nd styrene disk into place on top of the first disk, making sure that the two disks are in line and all edges are in alignment.
272) Mark a horizontal line on each side of the boiler tube, mid-line of the tube. This will be the guide lines for the rivet seam along the sides of the boiler.
273) Apply a rivet strip down each side of the tube. Start with the rivet strip flush with the wrap strip. As the solvent softens the rivet strip, use tweezers to position/straighten the strip to follow the guide lines. Allow the rivet strip to dry and then trim excess rivet strip from the back (wall) edge of the tube.
274) Apply a short piece of rivet strip to the front and on top of the rivet strip wrap to create a 'hinge'. Start the rivet strip at about the middle of the front of the boiler and lock in place with solvent. When dry, pull the rivet strip around the corner of the boiler and attach to the top of the wrap rivet strip. When dry, trim excess rivet strip with a flush or other fine nipper.

Next time I'll finish off the fabrication of the boiler and maybe have the last wall in place. Till then, thanks for stopping in. As always, comments on the good, bad and ugly are welcome.

-- KP --
Life is to short to build all of the models I want to.

Edited by - hon3_rr on 06/27/2015 05:35:35 AM

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Posted - 06/27/2015 :  12:06:34 PM  Show Profile  Reply with Quote
Another good read, thank you.
The seam is flawless. The color blends right in with both walls.
I got the 5# foam. That is the softer one?
I will be sure to share feedback on my experiences with it. I do have some engineering to do yet before I start carving. And I need to get some Gesso. This will be my first project with it;

I want to extend Mill's foundation wall out to the stone abutment (and replace the Chooch abutment) and I want it to look like the Mill was there first.

It's only make-believe

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Posted - 06/27/2015 :  12:36:14 PM  Show Profile  Reply with Quote
Gesso is interesting stuff, I first learned about using it for model railroading from Mike Tylick.

Kris' ability to repeat his colors is impressive! That's a problem I have, I can get good color on some stonework, but I have problems getting more of that same color a couple days/weeks/months/years later...


Modeling 1890s (because the voices in my head told me to)

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Posted - 06/27/2015 :  1:04:05 PM  Show Profile  Reply with Quote
Thanks all for dropping by to see what's going on.

Bob - You have the 'soft' foam. The high density foam is 10# or labeled as "Balsa Foam II". Since you have the soft stuff, you for sure will want to stiffen it up a bit. I found that texturing the soft foam is actually a bit more difficult than the dense foam. You may want to carve your stones, then add texture and then re-carve the stones a bit. This would be my suggested process since this is your first time with the foam. The other option is to texture first and then carve the stones as Jeff has done. Do not apply any Gesso until after you have completed the carving and texturing steps. I use Galeria Acrylic Gesso primer undiluted and have not found any loss of texture once the Gesso has dried. Let me know should you have any questions. I'm looking forward to hearing your thoughts on foam and seeing what you come up with.

Dave - Thanks for the complement. My 'tricks' are to pay careful attention to the color shifts as paint dries. I also always try to start with the same base. In the foam usage, it's always having the Gesso primer. I have tried to use Acetone or ETOH with weathering powders on the foam without a Gesso primer, but have found that it's not as easy to control coloring, esp. the tones. (Tones are grey added to a color, vs. hue which is a color for those interested in my terminology.)

-- KP --
Life is to short to build all of the models I want to.

Country: USA | Posts: 7237 Go to Top of Page


Posted - 06/27/2015 :  3:04:01 PM  Show Profile  Reply with Quote
Still following along with interest....learning a lot.

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Posted - 06/27/2015 :  3:27:23 PM  Show Profile  Reply with Quote
Originally posted by Geezer

Still following along with interest....learning a lot.

Kris, I'm with Bill!
Keep up the great job!

Greg Shinnie

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Posted - 06/28/2015 :  11:27:06 AM  Show Profile  Reply with Quote
Thanks Geezer and Greg for the comments. Great to have both of you visit.

When we returned to the bench, this is the starting point.

274) Grab the punch tool you've been using, in my case the 3-hole paper punch, and punch a third disk of .015 thick plain sheet styrene. This will become the stack saddle. (Sorry, I don't know the 'real' names of some of these parts, so I just use what works for descriptive purposes. Feel free to correct my nomenclature if you know the real names of this stuff.)
275) Drill a pilot hole in the center of the disk. I used a 1/16th inch bit.
276) Use the cone reamer to enlarge the hole to accept the 1/8 inch styrene tube smoke stack.
277) Use a #18 X-acto chisel blade to cut the disk sides to obtain straight edges on the disk sides with curved ends.

The boiler saddle for the smoke jack.

278) Create rivets along each end of the saddle.
279) Glue the saddle in place making sure the smoke stack will fit in the hole correctly. Use small amounts of solvent to soften the saddle to bend around the tube. This will take a bit of time and multiple applications of solvent, but with care one can bend the saddle the saddle without breaking the thin edges by the hole. I used a soft round 5/0 brush to apply the solvent.
280) Glue the stack into the boiler. Apply solvent to the inside of the boiler to where the stack tube touches the boiler tube. Make sure the stack is vertical in all planes before allowing to dry undisturbed.
281) Using strip styrene, .010 x .188, Evergreen #108, cut a small piece to form the support plate for the base pole on the bottom of the boiler. Try to cut the piece of styrene to match the outside diameter of the boiler tube.
282) Glue the support plate to the bottom of the boiler making sure there is equal distance on both sides of the boiler. This is another place to use that line drawn on the bottom of the boiler. Allow the plate to dry while with the boiler sitting on a flat surface.
283) Using 1/8 inch styrene tube, cut a length to match the desired height which the boiler is to sit. This will become the support pole for the boiler front.
284) Sand both ends of the support pole flat.
285) Glue the support pole tube to the center of the support plate. Make sure the pole is centered under the boiler, is centered on the support plate and is vertical in all planes prior to allow to dry undisturbed.
286) Clean the boiler assembly for painting. I used a couple of washes of clear ETOH applied and scrubbed with a #7 soft round. I allowed the ETOH to dry between applications.

The completed horizontal boiler assembly.

The next step is to paint the boiler. I've decided that I'm going to try to color the boiler similar to the following ore gate handle and plate. This picture was from a earlier build. If you are interested in seeing the fine details on how to creat this coloring, see pages 13 to 15 of this build thread: http://www.railroad-line.com/discussion/topic.asp?TOPIC_ID=25712&whichpage=15

I have already started the painting of the horizontal boiler, and next time I'll continue with a brief overview of the painting process with pictures. I'm also continuing to work on the mill's final wall assembly step.
(And Frederic... Yep... that floating timber still bugs me.)

Till the next time, comments to the good, bad and ugly are welcome.

-- KP --
Life is to short to build all of the models I want to.

Edited by - hon3_rr on 06/28/2015 11:40:48 AM

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Posted - 06/28/2015 :  11:21:02 PM  Show Profile  Reply with Quote
That is a great color on the handle. Quite realistic. You are a true perfectionist, KP... that boiler will look just great with those Valejoe colors'..


Edited by - quartergauger48 on 06/28/2015 11:34:13 PM

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Posted - 06/29/2015 :  8:46:23 PM  Show Profile  Reply with Quote
Kris nice looking boiler piece.

I'll go back and catch up with this tomorrow.


"And in the end, itís not the years in your life that count. It's the life in your years." A. Lincoln

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Ray Dunakin

Posted - 06/29/2015 :  9:51:47 PM  Show Profile  Visit Ray Dunakin's Homepage  Reply with Quote
Nice job on the boiler. I can see why they'd have it extend out through the wall like that -- makes it easy to dump cinders from the smokebox, and also eliminates the need to run the stack through the roof. In any case, for our purposes it makes for a more interesting model! I like the color on the ore gate, very realistic. The boiler will really look great painted that way.

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Posted - 07/05/2015 :  3:05:32 PM  Show Profile  Reply with Quote
Paint the Horizontal Boiler:
(287) Using a #2 soft round, brush paint the entire assembly with Vallejo Light Rust #301. (This color is from the Vallejo "Panzer Aces" color line.) Allow to cure dry.

Although not the boiler, this is the color of the boiler after the Vallejo Light Rust application.

(288) Using a #2 soft round, apply a coat of Vallejo Violet-Red #812. The paint is thinned with Golden Acrylic Airbrush Medium, 2:1 medium to paint. Allow to cure dry.
Note: The reason for using an Airbrush Medium to thin the paint was to try to obtain a dull reflective surface to mimic the 'metal' surface reflective properties of the boiler.

Coloring of the boiler after the application of the Violet-Red coloring.

(289) Using a short soft round #2, stipple Vallejo Dark Rust #302 (Panzer Aces) wash over the boiler. Thin the paint 6:1, airbrush medium:paint. Allow to dry stack side down to pull more of the Dark Rust coloring to the top side of the boiler.

Coloring of the boiler after the application of the Dark Rust.

(290) Apply a wash of Rust-All Blackwash using a stippling motion with a #2 soft round. Allow to dry with the boiler 'standing' in the correct position after wicking off excess wash with a paper towel edge.
(Note: I call this solution "Bluing" to differentiate this from other black-wash solutions like A-I and Silverwood.)

At this point, I found that the boiler was still to red in color. This coloring difference from the ore gate is probably a result of the size difference. The ore gate is not much larger than the front of the boiler, thus the red hue does not become as visible to the eye. To resolve the issue and approach the desired coloring I made a bold coloring choice.

(291) Using a #2 soft round, apply a wash of Vallejo Black-Grey #70862. Thin the paint 8:1 airbrush medium:paint. Allow to dry with the boiler in the standing position.

(292) Apply a wash of bluing to the boiler and allow to dry with the boiler in a standing position. Wick away any excess wash with a paper towel prior to allowing to dry.

Pictures of the completed and colored horizontal boiler after the final Black-Grey wash and bluing applications had dried.

-- KP --
Life is to short to build all of the models I want to.

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Posted - 07/05/2015 :  3:18:18 PM  Show Profile  Reply with Quote
Here's a photo of my my grille/smoker, so you can see how the heat has "weathered" the smoker box.

The rust has a pattern from the top (hottest part) on down the sides.


Modeling 1890s (because the voices in my head told me to)

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Posted - 07/05/2015 :  3:49:48 PM  Show Profile  Reply with Quote
Thanks Dave for the picture. It is useful. While I was not after as much rusting as your 1:1 has, it does back-up my attempt at getting a bit more rusting effect on the top of the boiler as noted in step #289. It is to obtain the rusting on the top of the boiler that I had the boiler upside down during the drying process to pull a bit more rust onto the boiler top, but I did not want a lot of rust due to the internal pressures of boiler. I did achieve a bit of a rusting effect coloring on the top of the boiler, but it is very subtle. The coloring can be seen in the close-up of the boiler top angle view posted above. The rust coloring is not as pronounced as I was after, but due to the required 'Black-Grey' coloring wash, the dark rust hues are considerably lost.

I really love the yellow rust and light grey hues. I considered doing a lighter grey-blue wash with the drying of the wash upside down to try to capture the light grey ring via a 'water spot', but decided that the effort was not necessary. This boiler detail will hardly, if ever, be seen by the viewers. Truth be told, the whole boiler exercise was more of a short modeling diversion from the mill walls as I was doing major battles with the 4th wall and needed to contemplate construction issues.

That sure is a wonderful reference picture however. I'm trying to figure out how I might be able to use it in the final diorama somehow. Maybe a 55-gal drum smoker and two picnicker tables for the mill crew?...

-- KP --
Life is to short to build all of the models I want to.

Edited by - hon3_rr on 07/05/2015 4:02:34 PM

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Posted - 07/05/2015 :  6:10:37 PM  Show Profile  Reply with Quote
Ray... I neglected to comment earlier about your post of the horizontal boiler sticking thru the wall. I would never have considered the ideas you presented but I believe that you have the correct understanding of the reasoning for having the boiler come thru the wall. Thanks for the input as I would have never have come up with the ideas.

Returning to the mill walls, or more accurately, the final wall of the mill which is beveled. It took four sets of carved stone walls to get this wall to work. Due to the really strange footprint created by earlier errors, last moment changes in how I was joining the walls (inside or outside at the corner junctions) and differences in foam thickness, this was a bear to get right. But.. I do have some carved stone walls just waiting to be used in another structure, river retaining walls and who knows what.

So, below is the saga of the final beveled wall construction and integration into the model.

Redo: Construction of the Beveled Wall:
(293) Measure and determine the bevel angle on the wall edge. Mark the wall for cutting with light pencil marks drawn in the foam. Make sure to mark both the inside and outside edges of the bevels.
(294) Cut the wall bevel with a fine tooth razor saw. Hold the saw blade at the required angle to follow the bevel marks when making the cut.
(295) Use a very soft pencil and/or light touch to mark or scribe the stone carving guide lines into the foam. I made sure this time to verify that I had the wall base, not the wall top with it's angle, when setting my square/ruler to mark the horizontal guidelines.

ADDITIONAL NOTES ON SOFT FOAM: I have noted the following when using soft balsa foam.
-- Carving soft foam can be a bit more difficult than carving high density or Balsa Foam II. Unlike the high density foam, soft foam is more difficult to carve with a #11 blade. I discovered that it is easier to carve the soft foam with a toothpick, triangular tipped dental pick or styrene "V" scribe tool. I also found that a metal fingernail file is useful.

This issue with very sharp tools is that the blade simply scores the foam, and the cut is so fine that it is simply lost. In addition, I find that the very sharp tool does not remove enough material. This becomes apparent when trying to texture the foam. When texturing the foam the carve line is totally lost due to how soft the foam is. This is even the case when the carve line is cut fairly deep. So it is essential that quite a bit of material be removed when carving the mortar lines into the foam, and very sharp pointed tools just do not cut the mustard in this material.
-- It's easy to carve mortar lines which are too deep. There is a balance here in that the mortar lines need to be deep due to the compressing of the foam during the texturing process. A 3x3 wall will provide all the necessary 'training' on how deep one needs to care the mortar lines.
-- A very light pressure of the tapping process is all that is required when texturing the foam. Additional pressure results in creating holes in the foam.
-- I've found that a medium-stiffed brush, like a cheap glue brush found at big box home stores or hardware stores, works well at removing sharp edges on the carved/textured surfaces. Use the brush in a circular motion using medium pressure. The brush acts like sandpaper but is able to reach all surfaces, rounding the edges without much loss of definition.
-- Use a 1-inch trim/finish paint brush to remove foam dust from the carved/textured wall surfaces. I've also found that a "Draftsman's Duster" brush is a useful tool to remove excess foam dust without the sanding effect. If used with only light pressure, both brushes will remove excess foam dust without the sanding effect.
-- Use the tip of a small cosmetic sample brush tapped against the carved wall surface to introduce texturing. By varying the angle and pressure of the tapping/stippling motion, you can obtain different textures.
-- After texturing the wall, you will note that there are several (lots of) 'dimples' in the stone surfaces. Use the handle tip of a small paint brush or cosmetic sample brush and lightly push the handle tip against the dimple. It is necessary to use an oblique angle with the brush handle tip, hitting the foam surface with a light pushing or glancing blow. Look at the wall from various angles to discover the dimples and remove the dimples with this technique.
-- The use of a acrylic Gesso primer will significantly increase the foams resistance to pressure, cuts and improve the gluing of foam components together. Needless to say, the amount of 'foam dust' from handling is also dramatically reduced.
-- Gesso can be applied without any loss of texture. It fills the majority of small air holes in the foam and provides a uniform base for the painting/coloring of the foam.
-- Significantly greater depth in surfaces and textures is easily obtained with the softer foam when compared to the denser foam. This property makes the material more useful in HO scale for stones larger than 2-man sized and better suited for 'S' or 'O' scales when creating smaller stone surfaces. For HO scale stone surfaces where a 2-man sized rock or smaller is used, then the denser 10# or Balsa Foam II is a better choice of material. Bricks or cinder-block walls would be easier to produce in HO scale with the higher density foam.

(296) Carve and texture the foam block walls. Small chipped pieces from the thin bevel edges can be easily filled with plaster/spackle later.

Tools used to carve stones into soft foam walls. The walls are 1-inch thick balsa foam blocks. I made my bevel cuts after carving the blocks.

Below you can see how the stone edges have been softened with the use of the glue brush as described.

The carved block foam walls prior to the wall bevel being cut.

(297) Cut the bevel angles as needed. Check fit and sand as required to obtain a good joint.
(298) Apply two coats of Gesso, allowing the first coat to dry prior to the addition of the second coat.
(299) Glue the wall block together making sure that the bevel angle is correct so that the walls match up correctly with the walls of the structure.

Verifying the beveled wall fits correctly.

(300) Add spackle to the beveled seam and allow to lightly dry.
(301) Carve the spackle to form a solid rock corner at the bevel seam. Texture the spackle to match the surrounding stone textures.
(302) Apply a coat of Gesso over the spackled and carved seam.

Spackled and carved bevel seam.

(303) Glue the beveled wall assembly into place making sure the walls are vertical and the corner seams are as tight as possible. Allow to dry.
(304) Apply spackle to corner seams and allow to lightly dry.
(305) Carve and texture corner stones into spackle.
(306) Apply a coat of Gesso to top of all walls. This will be colored to represent mortar.

Structure footprint and close-up of installed 4th wall.

(307) Apply a lightly diluted Silverwood wash to the beveled wall, wall corners and along the top of all walls. When applying to the top of the walls use strokes from the inside of the structure out, tying to keep excess wash off of the colored stone faces. The objective is to make the top edge appear as mortar.

Silverwood wash applied to the top of all wall edges.

(308) Apply a wash of Silverwood to the bottom of all walls, again trying to keep excess wash off of colored stone faces. This is to reduce the 'foam dust' when handling the structure.

Bottom of wall edges with Silverwood wash. One can see how the Gesso when colored mimics mortar when compared to the picture above.

-- KP --
Life is to short to build all of the models I want to.

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