I don't think there is any right or wrong with this.

I have weathered my own stuff using a mixture of oilbrushers and powders, with some dry brushing of acrylics.

I give them all a couple of sprays of either Humbrol Matt or Army Painter Matt varnish depending on what I have in, once the Oilbrushers have a few days to dry.

As others have said, if you are not going to touch the model much, then it is fine not varnish, however as my layout is small, stock does get moved around a bit more, so it adds protection.

I have never varnished any buildings I have done on the layout as they don't get touched.

RTR models are not varnished in the factory. They are painted, then tampo printed with the livery details.

Thinners can remove the tampo printing (handy for renumbering or rebranding) so I always seal with a coat of varnish before weathering.

Oil paints and enamels are very different beasts. Both use an oil based carrier, but they behave in different ways - I recommended some research into oil paint weathering via Google and YouTube if this is something that you want to try. The beauty of oils is their slow drying time and the ability to blend them nicely.

Enamels can be used for weathering too, as can acrylics but each have pros and cons and different ways of working. Again, YouTube and Google well worth a look, especially some of the foreign and non railway modelling. The aircraft and military modellers do some amazing techniques.

I've just found this as a good starting point explaining about washes.
https://youtu.be/hYHF8xKj1Ug?si=JwdvIqWoIYLFbADj

Jo

As the three couples approached the grand double main entrance doors of the Great Hall, the sounds of merriment and music grew louder. Two footmen, resplendent in their Trevelver livery, bowed slightly and swung the doors open, allowing the group to make their entrance.

The Great Hall was a vision of Yuletide splendour. Garlands of holly and ivy adorned the ancient stone walls, their deep green punctuated by the bright red of winter berries. Enormous Christmas trees, their boughs heavy with ornaments and tinsel, stood sentinel at each end. Hundreds of candles in red and gold lanterns and Atlantean and Bohemian crystal chandeliers bathed the room in a warm, golden glow, their light reflecting off the polished dance floor.

As they stepped into the hall, a momentary lull fell over the gathered guests. Heads turned, conversations paused, and appreciative glances were cast their way.

Sylvia and Jeremy led the procession, her crimson Givenchy gown a striking contrast to his impeccable black dinner jacket. They moved with the easy grace of longtime dancers, perfectly in step with one another.

Behind them, Eli and Giles followed. Eli's midnight blue silk gown shimmered as she moved, her striking bob catching the light. Giles, ever the gentleman, kept a protective hand at the small of her back.

Amanda and Andy brought up the rear, her Balenciaga creation of seafoam green organza seeming to float around her. Andy's hazel eyes never left her, his admiration clear for all to see.

As they reached the area of parquet flooring designated as the dance floor, Lord and Lady Trevelver appeared before them, a knowing smile playing on Lady Penelope's lips.

"Ah, there you are, my dears", she said, her voice carrying just the right note of innocence. "I trust you found the conservatory... illuminating?"

The couples exchanged quick glances, a mixture of amusement and mild embarrassment crossing their features.

"Indeed, Lady Trevelver", Jeremy replied smoothly. "Your collection of rare orchids is truly breathtaking."

"How delightful", Lady Trevelver responded, her dark eyes twinkling. "Now then, I believe the orchestra is about to begin a waltz. Shall we?" Her husband, by her side, nodded. Lady Isadora and Sir George Widgeon III remained seated at the High Table on the dais, still looking a little breathless.

With that, the four couples dispersed onto the dance floor, seamlessly rejoining the festivities. As they twirled and glided across the polished wood, the other guests noticed the extra spring in their steps, the added warmth in their smiles, and the lingering glances they shared with their partners.

The night was young, the music was enchanting, and the magic of the Trevelver Christmas Ball was in full swing.

Quote from: ntpntpntp on July 24, 2024, 12:27:46 PMWhat method of weathering - airbrushed paint and washes, or weathering powders?

Personally I prefer weathering powders over the top of the factory finish, and I don't varnish over the top in case I wish to remove or re-work the weathering at a later date.

Wash and powder, and oil paint ( i think ). No airbrush.

Im bit confused. Enamel paints and oil paints are the same thing right? or wrong?. Also when it comes to thinners for streaking and possibly making washes, what kind of thinner should be used, do you use the same thinner for oil and enamel?, and ami right you make washes with the thinner and paint? because i only have experience making washes with acrylic medium.


Thank you.

more than a fair review of the azuma 9 car , the biggest issue for me are those awful silver wheels , the kato ice 4 first run had these and on the second run was switched to darker wheelsets , as they are the same i will have to order some as spares but for the money you shouldn't have too, this is poor, also the cutting corners on some parts like tampo printing.  interesting dig at revolution for the 320/321s on build quality of which i have a few and i do like the models but i cant defend the build quality or lack of , hoping the 313/314s are a step up

The Mattson 2

I came across this little duo (in fact they are identical twins) recently.
Playing a combination of up tempo music and slightly upbeat jazz.
This is a natty little number which you may recognise :
https://youtu.be/-1QWj0J49BA?feature=shared

The Gentlemen's cloakroom, while equally splendid, exuded a more masculine air. Rich, dark oak panelling reached from floor to ceiling. Interspersed at regular intervals were bevelled mirrors in heavy gilt frames, their edges adorned with intricate carvings of oak leaves and acorns.

A grand fireplace dominated one wall, its mantelpiece hewn from a single slab of Cornish granite. Engraved upon it was the Trevelver family crest—a proud lion and rampant gryphon flanking a shield—alongside the more esoteric Atlantean symbol of harmony: three overlapping triangles within a circle, signifying the union of mind, body, and soul. The brass fender before it gleamed in the warm light cast by crystal wall sconces, their facets throwing dancing patterns across the room.

Leather armchairs, their burgundy upholstery butter-soft with age, stood in strategic corners. Though currently unoccupied, they bore the subtle indentations of generations of gentlemen who had sought a moment's respite from the Castle's festivities.

At a polished mahogany grooming station, Jeremy ran a silver-backed comb through his tousled hair. The surface before him was arrayed with an assortment of grooming implements: tortoiseshell brushes, crystal bottles of cologne, and even a discrete collection of moustache wax and pomade.

Andy and Giles stood before a tall, dark-framed mirror, its ornate stand featuring clawed feet. They adjusted each other's bow ties with practised ease, the starched fabric crisp against their fingertips.

"I say, Andy", Giles remarked with a sly grin, his eyes twinkling with mischief, "you've a bit of rouge on your collar." He reached for a soft-bristled clothes brush from the nearby valet stand, its handle inlaid with mother-of-pearl. With deft strokes, he removed the telltale mark, leaving Andy's collar pristine once more.

As they made their final adjustments, each man's reflection gazed back at them, a shared secret dancing in their eyes. The passionate moments in the conservatory lingered in their minds, an unforgettable counterpoint to their preparations.

When they reconvened in the corridor, the transformation was remarkable. Gone were the flushed cheeks and dishevelled attire, replaced by the polished appearance expected of the Castle's guests. Their dinner jackets were impeccable, shoes gleaming, and not a hair out of place.

"Shall we?" Jeremy offered his arm to Sylvia, his posture straight and confident. The others followed suit, each couple a picture of elegance.

With a collective deep breath, they stepped along the short, crimson-carpeted corridor towards the Great Hall. The strains of the orchestra grew louder with each step, promising a night of renewed dancing and revelry. Yet beneath their composed exteriors, their hearts still raced with the thrill of their conservatory interlude, a passionate glow that would fuel them through the long night ahead.

Regardless of size (and that has varied from a small 8 layout show to getting on for 30), over the many years our Club has organised shows we have always had a rota that is distributed to members (and any stewards/volunteers from other clubs). This shows who is doing what tasks during the day and at what time (it is divided into time slots), when they are "spare" and at what time they go for lunch.

On those occasions a Club layout is taken an additional line is created on the rota so those allocated to crew it know when. Frankly I find it inconceivable that a show could run smoothly without a shared rota of some kind 

In terms of stock, there is always a risk and it is a huge leap of faith to trust someone with your models, especially bespoke sound fitted ones costing well over £300. For this reason, unless I know who I will be crewing with and they are experienced trusted operators I tend to leave the "expensive" favourite models at home and will take what I consider my second "string" locos that I am not (quite) so precious about. Bottom line is that even amongst the most trusted operators accidents can still happen and the only way to 100% protect your locos and stock is not to take them. I would therefore agree with only taking what you will likely use, nothing that is of special value to you (monetary or otherwise) and when you leave, take your stock off, do not feel under any pressure to leave it with others.

Roy

I recently bought the one bearing the name Stepney from Compass Models in Rotherfield. It was Rotherfield village Fete and they were doing 10% off to celebrate - still a lot more than 56 euros lol. My (as yet unstarted) layout is based on GWR so I'm just going to pretend its one they haven't got round to repainting yet