Planning for Operations

While track is not yet installed on the layout, planning for operations is definitely part of the process, even at this stage. Once the track plan had been finalized by mocking up the Willow Springs side in place, I adjusted my scale track plan to incorporate those changes.

Revised track plan with Willow Springs to
the left and Willow Junction on the right

Version 2.0 and Naming the Tracks

With the track plan finalized, I was able to name all of the tracks.   Many model railroad writers, such as Tony Koester and Andy Sperandeo, suggest this as a way of making both the layout and operations on the layout more authentic.

The original plan for Willow Springs had a warehouse located along the siding, which in prototype practice would not have cars "parked" along it. The purpose of a siding is as a passing siding for meets or as a runaround; neither of these would be easily accomplished with a boxcar left at the warehouse. In this second iteration, the siding is able to function as a siding.

First draft of timetable and system map

Location On a Map

Earlier this spring I spent some time figuring out the location of the freelanced 4th Subdivision with its combination of fictional and real locations. Ferndale is a real town located along the GN mainline, now the BNSF. The Fourth Subdivision travels from the fictional Port Gulick Bay, located near the real Lumni Bay, through the lowlands towards the foothills and ultimately into the Cascade Mountains. Nooksack is a real location, while Willow Springs, Curtis, Chikamin (Chinook jargon for metal), and Green Rock are fictional names.

In addition to adding the 4th Subdivision to a prototype Great Northern system map, I also created a first draft of a timetable for a scheduled passenger train. Not only will locating the layout on a map help with orienting the movement of cars, but it will also help with creating appropriate and realistic scenery.

Finalizing the Track Plan

Now that the benchwork and backdrop for the layout are in place, I am able to revisit the Willow Springs side of the "U" and shift to a focus on starting the trackwork. It turns out that I did make some changes from my initial plan based on mocking up the plan full size on the benchwork.

Mocking up the track plan at Willow Springs

Along with shifting the location of a couple of turnouts, the major change was to add a second  spur off of the passing siding. While I had already obtained the turnout needed to add a team track spur, I found that I will need some additional cork and flex track. Those are now ordered and I have penciled in all the track center lines and turnout locations for the revised track plan. With the track plan finalized, I installed the cork for the spur and curve leading from Willow Junction to the trestle at the base of the "U" completing the cork roadbed on that side of the layout.

New tool added to my roadbed installation toolkit

While I followed the procedure for laying cork mentioned in an earlier blog post, I found that a small machinist's square is an essential tool for making perpendicular cuts in the cork. Also, now that they are available,  I find using  commercial turnout pads definitely save time, but they do add to the expense. With the trackwork plan finalized for the entire layout, I can continue to make my way with the cork roadbed and set up my workbench for modifying the turnouts.

Backdrops Part 2: Painting the Sky

After prepping the seams, painting the sky is the second step on the backdrop to the layout. Rather than just painting a sky blue color, I blended the sky blue color into white at the base of the backdrop to simulate the haze at the horizon. The initial effect seems a bit stripy, but more background will be added along the horizon later.

I used a small roller for the blue and a brush to apply the white and blend the two. I painted both colors in about a four foot section and blended the white into the blue before moving into the next section. This way the edges between colors and sections where wet when I moved on to the next area.

After the first coat dried overnight, I found that some areas did not have full coverage over the dark brown masonite. The blue is one of the newer paint and primer paints, but it still needed a second coat. Multiple coats can help with the blending from one color to another, so no harm, no foul. A handy tool for backdrop painting is to cut out a corner of the top of a milk jug to make a brush wash station. One is visible in the river cut out in the back of the photo to the left.





Another handy trick for backdrop painting is to seal the roller in a zip lock plastic bag. The photo to the right shows the roller sealed up overnight between the first and second coats. It was ready to go the second day; no muss and no fuss!

While I was painting the second coat, I added some clouds above the haze layer. Basically I blotted some white into the blue with a wadded paper towel. Then I repeated the blotting action to blend the white and wet blue to give it a more translucent or cloud-like look.

Now the backdrop is ready for nearer mountains, hills, and trees. More about the research, planning, and execution for that in Part 3.

Prepping the Backdrops

Now that the benchwork is complete and the backdrops are up, the next step before painting them is to tape and mud the seams using wallboard supplies. I purchased the smallest tub of joint compound and shortest roll of tape I could find along with an inexpensive set of plastic taping knives at the big box store.

One of the three seams to be sealed

The backboards on the layout are tempered hardboard (Masonite) ripped at 16" with 12" visible above the back of the layout. I mounted them to the back of the frame with screws and washers. At the seams I glued a piece of scrap "one by" wood to tie the two pieces together. I will prime the back of this last section when I finish the seams and have the primer out to paint the joints.





After sanding the edges on the front of the seam, I installed
fiberglass tape and the first coat of mud. The photo to the right was taken after I applied the first coat of mud. While the actual work time has not been much to speak of, this process takes one day for each layer to allow the joint compound to dry over night. I sanded, vacuumed up the dust, and wiped down the joint with a damp cloth between each coat.

The photo to the left is after the third (and hopefully final) coat was applied. For each coat I used a wider knife. After it dries, I should be able to sand and then prime the area around the joint before proceeding to actually painting the backdrops on the layout.