Making Scale Models E-Book

Mark Friend

• Herausgeber: Crowood
• Kategorie: Lebensstil
• Sprache: Englisch

Seitenzahl: 115

Veröffentlichungsjahr: 2014

Beschreibung

Making Small Scale Models is for those who have never made a model before or want to develop or increase their skills. From cutting a straight line to making a scaled human figure that 'lives', through to creating beautifully detailed buildings and finely detailed furniture, the book takes you through each stage of the process. Topics covered include methods for a wide range of disciplines, from theatre design to railway modelling to interior design; a practical guide to tools and materials; basic techniques for constructing scale models using simple, readily available materials; step-by-step guides to projects designed to practise and develop skills; and advanced ideas focus on colour, texture and form to bring models to life. Superbly illustrated with 111 colour photographs.

Leseprobe

makingScale Models

MARK FRIEND

THE CROWOOD PRESS

First published in 2014 by

The Crowood Press Ltd

Ramsbury, Marlborough

Wiltshire SN8 2HR

www.crowood.com

This e-book first published in 2014

© Mark Friend 2014

All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any

means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval

system, without permission in writing from the publishers.

British Library Cataloguing-in-Publication Data

A catalogue record for this book is available from the British Library.

ISBN 978 1 84797 771 7

Photographs: Robert Youngson

DEDICATION

For my parents, June and Terry who let me go to art school, George for ‘helping’ me with the models and Helen for living with them.

ACKNOWLEDGEMENTS

The author would like to thank Robert Youngson for taking the photographs, Mary Roscoe and Jones, Jones, Jones and Jones Ltd. for the use of studio space at Pollard Row, London.

CONTENTS

INTRODUCTION

1 TOOLS AND MATERIALS

2 SCALE

3 PROJECT: MAKING SIMPLE FORMS

4 PROJECT: MORE COMPLEX FORMS

5 PROJECT: MAKING A MODEL CHAIR

6 PROJECT: MAKING AN ORGANIC FORM

7 PROJECT: A HUMAN FIGURE IN 1:25 SCALE

8 PROJECT: AN ARCHITECTURAL ENVIRONMENT

SUPPLIERS OF MATERIALS

FURTHER INFORMATION

INDEX

INTRODUCTION

This book is aimed at the beginner and for those who want to learn the key methods and materials used to create a variety of models and modelled forms. From here you will find you can develop your own methods or variants on the techniques featured.

First steps: cutting a straight line.

The book contains a list of the tools and materials needed plus step-by-step guides to completing small projects. These range from constructing simple forms through to modelling an accurate scale-modelled figure and full-colour and textured, organic form and architectural environment. It is an essential guide for those who want to know the basic skills and knowledge needed to make neat, accurate and expressive models.

Models are made for a variety of reasons. A designer may want to develop their ideas in three-dimensional form to realize a large-scale project. For example, a stage set, architectural project or piece of sculpture. In this case the model is made to convey the look and feel of the real thing that has yet to be created: the model as tool.

Alternatively a model may be an object in its own right. It can be figurative and descriptive of a recognizable environment. Some examples include a doll’s house or model railway landscape, complete with furniture, trees and so on. Or it can be closer to a small piece of sculpture, as ‘realistic’ or as abstract as you want. This is where the idea of craft merges with art. It is up to you where you take the techniques you are about to learn.

CHAPTER ONE

TOOLS AND MATERIALS

TOOLS

Blades

Let’s begin with the basics. You will need a sharp blade, a straight edge to cut against, a means of measuring and a way of describing curves and circles. The easiest way to cut through a variety of materials is to use a scalpel handle that takes a size 10a blade, commonly known as a surgical blade or Swann-Morton®. There are two types of handle, a plain metal one and a plastic-coated one. Both are lightweight and very flexible. As you become more practised you will find that you draw rather than cut and these are the best tools for the job. The plastic-coated one is a little thicker but it can be easier on the hand, especially if you work for several hours. Though a conventional craft or Stanley knife is a useful tool, do not be tempted to use it as a substitute for a scalpel handle and blade; it is too heavy duty and you will never achieve the lightness of touch that is needed for fine, accurate cutting. The same goes for those sliding, disposable blades that are often sold in discount shops. Both of these are useful but the 10a should be the model maker’s first choice.

Basic tools: always use a sharp blade.

The Swann-Morton® handle will also take a variety of other types of blades of varying length and shape; there is a particular curved blade used for creating lino-prints. These handles were originally designed for surgeons, whose work is not that dissimilar to a skilled model maker!

Saws

While a junior hacksaw is really designed for cutting metal you may find you use it for most larger cutting jobs. Modelling suppliers sell various other saws and jigs (jigs hold the material to be cut and guide the blade). The other type of saw that you may find useful is a bead saw, which is a bit like a very fine hacksaw and is designed for fine woodwork.

Scalpel handles, blades and saws.

Pliers

As with saws, there are all sizes of pliers but a small pair with a long, round ‘nose’ are the most useful. You can bend metal and wire as well as hold small materials or components steady while you glue or paint them. (Tweezers can be used for this too). A larger, heavier duty set of pliers is useful for cruder tasks and some include a blade for cutting wire and thin metal rod. However, you can get a pair exclusively for cutting.

Steel rules, try squares and a click pencil for accuracy.

Rulers and straight edges

You will need a metal ruler to cut a straight edge. A 12-inch/300mm ruler is a good flexible size but I recommend getting a 6-inch/150mm one for small work and a 1000mm or metre rule as well. You will need this for larger scale work, for instance, if you are constructing a foam board box to protect your model or to cut long strips of any sheet material.

There are a variety of manufacturers who make steel rules. Choose a rule that is not too heavy, but sturdy enough not to bend and slip. Some come with a thin, cork layer on the bottom edge to help grip, although this does mean it is slightly raised and this may cause you to cut an irregular line. My Heath Robinson tip is to get a flat steel rule and stick a piece of masking tape on the side that you are least likely to use for measuring (preferably the side with imperial measurements as from now I will use only the metric system). The tape causes enough friction to stop the rule sliding around, particularly if you are cutting a shiny sheet material, such as clear acetate or mirrored plastic. Just renew the tape from time to time. Use lighter fuel or a commercial product such as Clean Art to get rid of any gluey layers.

In addition, a flat, clear, plastic ruler with a grid printed on it can help with accurate positioning and right angles, though you shouldn’t rely on this exclusively. The essential tool for this is discussed next.

Metal squares

As with rulers it is possible to get a variety of sizes of square (or ‘try square’ to use its full title) for the accurate cutting of a 90-degree angle. While a conventional, woodworker’s square with a wooden handle is useful; once again the model maker needs something a little more sophisticated. A small, metal square is best. Not only will it help ensure that you cut perfect 90-degree angles but it will also come in useful to check that any verticals are also correct, for instance, a series of square columns or uprights in an architectural model or the sides of a cuboid. You may need to check the internal angles when constructing a frame and you can even use it as a temporary support in a theatre model. For example, you may want to experiment with positions of walls or ‘free-standing’ surfaces in a modelled space.

Cutting mats

The correct cutting surface is as important as the correct blade. This means investing in a cutting mat. These consist of a rubber-like material that ‘heals itself’ when you have cut on it. They usually come in a variety of sizes and in some neutral shade that is restful to the eye. I am currently using a blue one with a white grid pattern on it, rather like graph paper. This can be useful for checking your right angles and whether that spare off-cut of card you are about to use is, in fact, square! I tend to carry an A4 cutting mat in my bag along with a scalpel and ruler, as well as my laptop! The mat ensures a non-slip working surface and prolongs the life of the blade. NEVER use a sheet of MDF, card or ply as a cutting surface. Your blade will be blunt in seconds and your work will suffer.

The right kind of pencil

While accuracy is ultimately achieved when cutting lines or shapes, it is essential that any marking out or measuring beforehand is also done with care. This means using a pencil that will give a consistent and clear mark. For this it is best to use a mechanical or ‘click pencil’ that takes a 0.5mm lead, rather than an ordinary pencil that needs sharpening regularly and may produce an irregular line. An HB lead is fine if used lightly. If you want something a little softer then use B grade but be careful not to press too hard as it will snap easily. Be careful also not to smudge the line. For very accurate drawing, H grade is good, but it can be difficult to see and it is tempting to press too hard and accidentally score the surface, if using card or wood sheets, such as obeche. This can be a problem if you’ve made a mistake and want to rub out the line.

Circles and curves

As well as straight lines, you will need to create circular shapes and curves. Pairs of compasses come with a blade attachment in place of the lead but I find them difficult to control. If the blade isn’t of premium sharpness, it can snag. Far better I think, to draw the circle using a pair of compasses and then practise cutting a perfect circle. As well as achieving the end result of a disc, repetition of this method helps perfect all the techniques needed for good model making; lightness of touch, concentration and a flair for accuracy.

When it comes to creating ovals and other regular curves such as rounded corners, then arm yourself with as many geometrical tools as you wish. This isn’t cheating! There are any number of templates and curves available. Especially useful are the ones for drawing small circles. Attempting to draw these with a pair of compasses can be very tricky. If you want to create a curve without geometry or mathematics but still need some help with drawing it free-hand, use a flexible curve. This is a bendy length of rubber-like material that has a metal core. It can hold any curved shape and you can draw along the line and cut it accordingly.

Curves and circles: templates, pairs of compasses and flexible curve.

Paintbrushes

There are innumerable types and sizes of paintbrush. The ones you need depend on the job but it is good to have a few very good quality brushes for fine work and any number of cheaper brushes for experimenting with, especially when creating different-textured surfaces. Eventually you may find that you will keep using the same, small number of your favourite brushes for a whole host of effects. It’s surprising how many techniques and effects can be created using a small number of tools.

Here is a brief description of the most useful types of artist brush:

Round brush: has a pointed tip and is good for fine detail.

Flat brush: good for spreading paint evenly, for instance: paint and ink washes.

Fan brush: for spreading paint or ink over a larger surface, for instance, a planked stage made of strips of obeche.

Stippler: used to create texture by using a dabbing action.

Sometimes cheap brushes with hard bristles are better than more expensive ones, particularly if you are using any type of dry brushing technique to build up layers of colour or to suggest grain. You can even use a small decorator’s brush to texture larger areas or dust on colour over shapes and forms to give a light texture or soft focus effect. In fact, sometimes using cheaper brushes liberates your work as you feel less precious about damaging an inexpensive brush. A more general point to remember: almost anything can be a tool. The broad, scrubbing action of an old toothbrush might be just what is needed to distress a painted surface to reveal a texture or colour underneath. Never be afraid to experiment!

A variety of brushes to create different effects.

Files and sandpapers

Sandpapers come in all grades and each is suitable for a different task. Sometimes it is useful to mount the paper on a block of wood, particularly if you are sanding a larger, flat area. That way you exert an equal amount of pressure and avoid indentations from your fingertips. You could wrap a fine grade of sandpaper around a piece of tubing or pencil to finish off the edges of a circular hole. Sanding blocks, which can be re-used, particularly the finer grades, are also useful.

Most tool merchants and some art suppliers sell small files that are suitable for fine work with metal or plastic. Sandpaper nail files are a cross between the two, and although not designed for artwork, make a good artist’s tool. More detailed descriptions of how to use these tools appear in the project chapters.

Using fine grade sandpaper to finish the edges.

MATERIALS

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