Miniature Landscape Modelling 3rd Edition by John H. Ahern Soft Cover

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Miniature Landscape Modelling 3rd Edition by John H. Ahern Soft Cover
 
Miniature Landscape Modelling 3rd Edition by John H. Ahern Soft Cover
Miniature Landscape Modelling
John H. Ahern
Soft Cover
133 Pages
Copyright 1962 Third Edition
Contents
INTRODUCTIONvi i
PREFACE FOR RAILWAY MODELLERSIX
BASEBOARDS AND SUBSTRUCTURE
Choice of materialsSecuring rigidity and lightnessPort-abilityObtaining suitable timber
IITHE LANDSCAPE FOUNDATIONI0
Advantages of open table-top methodFoundation for the ground  Card and paper  Fabrics  Wire netting " Earth-mixes," Alabastine, etc.  Embankments  Track boards.
IIISCENIC TREATMENT OF THE GROUND22
Grass, earth, rock, gravelPaintsGreen sawdustGrass and foliage--Methods of working up on hillsides, etc.
IVROADS AND WATERWAYS4I
Various road surfacesTreatment of the vergesWhite lines Methods of representing waterCanal locksWaterfalls BeachesHarbour walls
V AFFORESTATION68
Tree materialsWays of making trees" Planting " trees HedgesUndergrowthHeather and gorse
VICREATING A LANDSCAPE78
Examples of scenic modellingColour and the effect of distance Foreshortening and trick perspectiveTreatment of cornersBuildings in relation to the landscape
VIITHE SKY BACKGROUND AND LIGHTINGI04.
Different forms of sky backgroundBlue distemperPulp-board and linoSemi-portable backgroundsarrangement of lighting
VIIIFLAT SCENIC BACKGROUNDSI I 0
The uses and limitations of coloured postersThe skylineSimple scenic motifsMaterials and coloursApplying colour washesTree, downland and mountain backdropsTheir use in combination
IXSCENIC MODELLING IN ULTRA MINIATURE SCALES130
Hills, grass and treesCork used to represent rockColour treatmentWaterways and roadsBuildings

THIS book is an attempt to describe concisely and in straightforward language the methods usually employed in scenic modelling. I have endeavoured to keep in mind throughout that the majority of readers will be disposed to approach the subject from the point of view of the craftsman rather than that of the artist. I have therefore treated the subject as essentially a branch of modelling, but where aesthetic considerations have arisen, as is to a certain extent unavoidable by the nature of the case, it has seemed better to be, if anything, over explicit, and to say too much rather than risk leaving the reader in doubt on any point.



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