Modelling Railway Scenery Volume 2 E-Book

Anthony A Reeves

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

Veröffentlichungsjahr: 2015

Beschreibung

Whether you are just about to embark on your scenic modelling journey, or want to re-work an existing layout, this clearly written volume will be invaluable. The author guides you through the process of collecting field-trip information, both written and photographic, and then demonstrates, using step-by-step instructions, how the colours, textures and features depicted in the reference photographs can be replicated to create a wonderful model landscape. The author describes in detail the modelling techniques he employs to create long and short grass, crop, fallow and freshly ploughed fields, trimmed hedges, mature hedgerows, hedgerow trees, broadland trees in summer, Scots pine trees, silver birch, autumn and winter trees, as well as dead and fallen trees and trees in half relief. Finally, he brings together all the features that have been covered in the book and describes the building of a scale model representation of the field trip photographs in the form of a 3 x 2 ft diorama. Aimed at all those railway modellers who wish to create attractive, realistic scenery for their layouts, brimming with advice and tips and with over four hundred inspirational reference colour images and colour instructional photographs. A sister volume to Modelling Railway Scenery Volume 1 - Cuttings, Hills, Mountains, Streams and Lakes (Crowood 2013).

Leseprobe

First published in 2015 by

The Crowood Press Ltd

Ramsbury, Marlborough

Wiltshire SN8 2HR

www.crowood.com

This e-book first published in 2015

© Anthony Reeves 2015

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 944 5

Disclaimer

The author and the publisher do not accept any responsibility in any manner whatsoever for any error or omission, or any loss, damage, injury, adverse outcome, or liability of any kind incurred as a result of the use of any of the information contained in this book, or reliance upon it. If in doubt about any aspect of scenic modelling, readers are advised to seek professional advice.

Dedication

For Nic, Luke, Libby and Benson and my family, past, present and future: ‘Thank you for putting up with me and for your continued support, cheers!’

Acknowledgements

The author and publisher would like to thank the following companies for their generous support in the making of this book: AK Interactive, Deluxe Materials, Javis Manufacturing Ltd, Noch, TREEMENDUS. Special thanks to Andy York and BRM magazine for the additional photography.

CONTENTS

INTRODUCTION – WHY LANDSCAPE?

CHAPTER ONE: FIELD TRIP TO IRWELL VALE HALT

CHAPTER TWO: SHORT GRASS EFFECTS

CHAPTER THREE: LONG GRASS EFFECTS

CHAPTER FOUR: AGRICULTURAL FIELDS

CHAPTER FIVE: TRIMMED HEDGES

CHAPTER SIX: MIXED HEDGES

CHAPTER SEVEN: MATURE HEDGEROWS AND HEDGEROW TREES

CHAPTER EIGHT: OAK AND BROADLEAF TREES

CHAPTER NINE: SCOTS PINE, SILVER BIRCH AND WEEPING WILLOW

CHAPTER TEN: AUTUMN AND WINTER TREES

CHAPTER ELEVEN: FALLEN AND DEAD TREES

CHAPTER TWELVE: HALF-RELIEF TREES

CHAPTER THIRTEEN: CREATING A LANDSCAPE

MANUFACTURERS AND SUPPLIERS

INDEX

LAND . SCAPE

/'lan(d), skāp/

Noun: All the visible features of an area of countryside or land, often considered in terms of their aesthetic appeal.

Verb: Improve the aesthetic appearance of (a piece of land) by changing its contours, adding ornamental features and plantings.

INTRODUCTION – WHY LANDSCAPE?

Having been born in 1967, I missed out on the steam era of British railways. I grew up in a time of diesel and electric locomotives and have seen a number of the classes I grew up with disappear from service as they themselves are relegated to the history books.

One element of rail travel that does stay constant however, other than its seasonal change and the occasional intervention of man, is the countryside the trains pass through. I have always had a fascination with scenery and what it consists of both in the real world and in the scale model world. I have always studied the scenery and the structures railways run through and how the landscape, structures and railways have a profound effect on each other.

My passion for the scenic elements of railway modelling has encouraged me to develop the TREEMENDUS range of scenic modelling materials, which are used by modellers worldwide. This is my second book on the subject of how to accurately create convincing scale model scenery following Modelling Railway Scenery Volume 1 – Cuttings, Hills, Mountains, Streams and Lakes (Crowood, 2013). I hope this new publication brings you enjoyment and inspires you to improve your own scenic modelling skills.

For the many thousands of railway modellers in the UK, and indeed worldwide, it is the locomotives, rolling stock, permanent way and railway-related buildings that are the most important and interesting aspects of a model railway – and of course without these features there would be no railway at all.

‘Playing with trains’ has come a long way since the days of so-called ‘carpet railways’: these were essentially steam engines that ran directly on the floor without the use of a track. Table-top railways were later introduced, with clockwork and then electric-powered locomotives running on primitive-looking, unrealistic track; the latter was an improvement on the previous clockwork engines, but the trains were still toy-like and used basiclooking accessories.

Fig. 1: It’s not difficult to see the attraction for railway modellers of recreating scenes like this in scale model form.

Fig. 2: By taking note of natural features in the real world our model railways can be made to look very lifelike.

Today as advances are continually being made in the quality of almost all areas of railway modelling, with fantastically detailed stock and realistic digital sound commonplace in all the popular scales available, it is becoming more and more desirable to run railways through a landscape worthy of the trains themselves. As a wide choice of stock is readily available for almost every region and era of British railways, there are obvious reasons for wanting to faithfully re-create landscape which is recognizably typical of a particular region of the country, or even to copy the features of a chosen stretch of railway line as it appears in the real world.

Fig. 3: Irwell Vale Halt, Irwell Vale, East Lancashire Railway, BL0 0QA (June 2013).

The East Lancashire Railway

The East Lancashire Railway is a heritage railway that spans two counties, Lancashire and Greater Manchester; it is situated in the northwest of England, and more commonly referred to as ‘the East Lancs Railway’. The East Lancs Railway currently (May 2014) operates a 12-mile (19km) stretch of railway between Rawtenstall and Heywood, on which it runs a mixture of steam and diesel-hauled trains.

In my first book Modelling Railway Scenery Volume 1 – Cutting, Hills, Mountains, Streams and Lakes, individual dioramas were made to show the various aspects of the landscape being modelled. Modelling Railway Scenery Volume 2 – Fields, Hedges and Trees is presented in a different way. In this book you are advised as to the best way to collect information from a particular location, which you can refer to at a later date; in this case I have studied a stretch of railway line running through Lancashire which is part of the East Lancashire Railway.

ABOUT THIS BOOK

The aim of this book is to guide the reader through the process of collecting photographic information and converting the information within the photographs, through the use of step-by-step demonstrations, into scale model scenic features for your own model railway layouts.

The book starts with a field trip on a sunny June day to the area surrounding Irwell Vale Halt, a small station on the East Lancs Railway. Whilst on the field trip a huge amount of colour reference photographs were taken, and these photographs served as reference to the colour, shape and size of the scenic features in the area, as well as the important smaller details that make up the scenes in the photographs; many of the photographs can be seen in the following chapters.

Fig. 4: Landscape features such as this small hawthorn are just waiting to be modelled.

The important features of the landscape are recreated in step-by-step format using readily available scenic modelling materials with accompanying full colour photographs of both the prototype and the various stages of creating a scale model version. Although Modelling Railway Scenery Volume 2 is aimed at 1:76 scale, or ‘OO’ modellers, the various techniques and materials can be used for most of the commonly modelled scales – the principles of creating the scenic features are the same, it is a simple matter of scaling the size of the hedges, trees and so on up or down to complement the scale of the rolling stock and buildings that appear on the layout.

Using the scenic features created throughout the book a scale model representation of the field trip photographs is created in the form of a 3 by 2ft (90 by 60cm) diorama. The diorama is not intended to be an exact copy of one particular photograph from the field trip: it simply includes many of the landscape features found around this particular stretch of East Lancs Railway, and it is these features that will give the model all the charm and character of that particular area.

THE FIELD TRIP

Taking a field trip to the area you have chosen to model is a perfect way to become familiar with the characteristic features of the surrounding landscape and how the railway interacts with them. If at all possible it is highly advisable to take a train journey through the area during the time of year on which your layout will be based, as this will enable you to get a close-up view of the track-side features and beyond into the neighbouring scenery.

Whilst on your field trip take as many colour photographs as possible, and make notes on the scenic features of the landscape – for instance, the approximate length of the grass in the fields, the size of the hedgerows, and what kind of plant life they are made up of. It may also be advantageous to record the approximate height, and if possible the species, of the trees that are growing in and around the area, as it is these trees, along with the buildings, that will add the all-important height to your model railway scenery.

It is true that some of the information you record may serve no real purpose to you at all once you return home, but there are bound to be some images that illustrate what you are looking for perfectly, and it is these photographs that will be the reference from which you work for a long time to come.

It is also useful to take some photographs of the area from a distance if possible, as these photographs will give you a good indication of what the surrounding area should look like when scaled down in model form.

This book sets out to recreate a beautiful rural landscape, and as such contains mostly photographs that feature natural scenic features; but even if you are planning a layout based in an urban or industrial setting, a field trip is still a worthwhile and often enjoyable part of the research process.

MATERIALS

The majority of the construction and groundwork materials that are used during the course of this book are readily available, lightweight and fairly inexpensive. Each of the individual scenic features has an accompanying materials list that will help you to have all the relevant materials and tools to hand before you start a particular project.

CONSTRUCTION MATERIALS

The term ‘construction materials’ refers to all the materials used to create the actual rises and falls that may be present in the landscape. These might include railway cuttings, embankments, hillsides, cliffs and other small landscape features. Construction materials are usually eventually hidden from view as they are generally covered with groundwork materials. The construction materials used to create the 3 by 2ft (90 by 60cm) diorama built at the end of the book include chipboard, timber, screws, PVA glue, polystyrene/kingspan, cocktail sticks and cork sheet. Some of these construction materials can be substituted with other materials, and where possible alternative suggestions are given.

GROUNDWORK MATERIALS

The term ‘groundwork materials’ refers to the scenic modelling materials used to create the realistic and visually impressive landscape our trains run through – grass, hedges, trees, vegetation, weeds, paths and all the other features that are added to the visible landscape. Groundwork materials include ballast, fur fabric, static grass fibres, rubberized horsehair, treemaking materials, scatters and earth powders.

The groundwork materials used in the making of the diorama come from the TREEMENDUS scenic modelling materials range. There is a huge range of scenic modelling materials on the market, and I will also be incorporating some of these materials into the groundwork as its construction commences.

TOOLS

A basic toolkit is required – an electric drill and a jigsaw are an invaluable addition to the railway room, as are sharp scissors, a sharp scalpel or craft knife, a steel rule, wire cutters, assorted paintbrushes and paints. A plastic bottle with a nozzle and an atomizer attachment is useful for ballasting and groundwork in general. Hairspray is also a very useful ‘tool’, and is used in abundance in association with groundwork materials and scenic glue, although it is advisable to keep it away from your metal rails.

Fig. 5: A view of Ramsbottom station, East Lancs Railway.

Reference is given in the text of each chapter to the specific tools required to complete the landscape feature being created. The modelling techniques involved vary according to whether fields, hedges or trees are being created, but there is also some repetition throughout the chapters. Readers are alerted to the fact that the same techniques have been used elsewhere in the book: this is done with the aim of inspiring consistency in an individual’s scenic modelling.

HISTORICAL BACKGROUND

We know that the railways were built through the existing landscape. Sometimes the landscape could be used to advantage, while at others it caused great problems, necessitating the construction of huge viaducts and tunnels, for example. There was a time when the railways transported produce and people to many rural towns in the UK, areas much like the one being modelled in this book. Many small, unprofitable lines were unceremoniously closed after the 1963 and 1965 reports by Dr Richard Beeching, known as the Beeching cuts or Beeching axe. The first report referred to the ‘reduction of route network and restructuring of the railways in Great Britain’, which resulted in 55 per cent of stations and 30 per cent of route miles in the UK being lost for ever. Heritage railways such as the East Lancs Railway keep some of these otherwise long-forgotten lines open today, and far from completely vanishing, some of them are once again carrying passengers and making a profit.

With a little careful planning our model railways can be built to look as if they, too, have been incorporated into the existing landscape. We can use some of the features of the landscape to our advantage, especially when we include tall, dense trees to help disguise exit points into fiddle yards ‘off stage’ for example.

Of course field trips are less necessary if you are intending to build a model railway that runs through a generic landscape, but nonetheless it is still well worth taking the time to pay a visit to some actual railway lines, and photographing them if possible to get a feel for the colours nature has to offer, and the way the railway, hedges, fences, trees, fields and other scenic features interact with each other and the surrounding landscape in general.

Fig. 6: Light can have a huge effect on the way we see colour, both in nature and on our models.

COLOUR VALUES

We know that the fields, hedges and trees in any landscape change with the coming and going of the seasons, and the weather on any given day can have a massive effect on how everything in the landscape appears. The choice of season being modelled will have a great influence on the colour values used in the scenery on the layout; these colour values tell the story and give the viewer an indication of the time of year being presented in the scene before them. The amount of colour you include in your scenic modelling is a personal choice, as we all perceive colour differently. This is what thankfully makes our layouts original and unique. Don’t attempt to copy other people’s model railways, but try to emulate what you see in real life.

Fig. 7: All aboard?

If you can’t get to the location you are planning to base your own scenery on, then this shouldn’t present too much of a problem. We are fortunate that nowadays we have at our fingertips a huge amount of information on almost any subject. The age of the computer has really transformed everything we do and the speed at which we do it. During the course of building your model railway, even armed with a multitude of field-trip photographs and notes, there may be times when you need to refer to the internet for information, whether written or visual – and be sure to make the most of this valuable asset. In some cases all that remains of certain places are historical photographs, and these can be a very welcome resource indeed, especially if they are all that remains of a particular station, for example.

SUMMARY

To summarize, the first chapter of this book describes a field trip to Irwell Vale Halt on the East Lancs Railway, a photographic bonanza whilst on location. The chapters that follow are a series of step-by-step demonstrations showing how to create the various scenic elements that can be seen in the photographs. Finally, all the elements of the landscape are brought together in the creation of a complete model of the railway running through natural-looking scenery based on the landscape captured in the field-trip photograph.

CHAPTER ONE

FIELD TRIP TO IRWELL VALE HALT

Fig. 8: Beware of trains.

Warning!

It is vitally important to remember that railways can be very dangerous places: they always have been and always will be, so take care when on location doing your field trip research. Always ask permission if possible from the respective landowner where necessary, and be sure to bin your rubbish and leave the location how you found it.

Photographs and written notes are probably the best way of recording the major scenic features of the landscape, as well as all the smaller yet equally important details you see on your field trip. Digital cameras have made recording field trips so easy, as they enable us to take literally hundreds of images in a single day. On arriving home we can upload the images to a computer, sort them into a suitable filing system for easy retrieval in the future – in this case ‘Fields’, ‘Hedges’ and ‘Trees’ – and can zoom in and out to look more closely at the individual features in a frame. It is also quick and easy to send them to other people via email should you need a second opinion on something, or wish to show them something you saw on your travels.

Note that the amount of natural light available on the day of your field trip plays an important part in, and has an enormous effect on, the quality and colour values of your photographs. For obvious reasons, it is probably more desirable to choose a bright and sunny day for your field trip – though as we all know, it is almost impossible to second guess the British weather!

EAST LANCS RAILWAY PHOTOGRAPHS

As discussed, the following photographs and accompanying notes were all taken on a field trip to the East Lancs Railway. Although the photographs are used for reference in the step-by-step projects, I was not intending to use any one particular photograph on which to base my landscape, but merely to take inspiration from the colours and textures in the photographs to create a scene with all the flavour of the Irwell Vale.

Fig. 9: Irwell Vale station sign.

Fig. 9 shows an Irwell Vale station sign fixed to a short length of unpainted wooden fencing. The sign is actually made up from two halves joined vertically down the centre of the sign. The sign is surrounded by honeysuckle and Euonymus (spindle trees). For the diorama I have in mind for this book there will in fact be no station, but this photograph shows the huge variety of plants growing to the rear of station platforms.

Fig. 10: Irwell Vale sits in beautiful countryside, and this type of scenery looks great in scale model form.

Fig. 10 shows the type of scenery that looks great in scale model form. To the rear of the station platform and running all the way down the track there is a dense row of tall trees, including silver birch, sycamore and beech. A row of trees like this will give a dramatic look to the rear of a diorama or layout. To the front of the track on a low embankment grow tall grass and weeds, including rosebay willowherb – though this is not yet in flower in the photograph. Note how the fence separating the field in the foreground from the small embankment is almost invisible, as it is engulfed by the tall plants on the embankment and the weeds and tall grasses in the field.

Fig. 11: 80080 arrives at Irwell Vale.

Before leaving the station to gather more reference photographs, BR Standard Class 4 2–6–4MT No. 80080 arrived, hauling a short train consisting of three carriages. Fig. 11 lends some reference to the scale of the trees behind the platform. It also shows well how the grass growing along the fence has been allowed to grow untrimmed.

Fig. 12: A path leads down to the small underpass.

In Fig. 12 an earth path runs along a river down to the underpass that takes pedestrians beneath the track. The grass in the fields along the track is kept fairly short by the constant grazing of sheep. The hawthorn to the right of the track makes a good feature; it is just on the bottom of the embankment and not in the field. Note, too, how the grass along the track grows into the ballast. The trees to the left of the photograph are a continuation of the row of trees behind the platform, although here they tend to thin out a little.

Fig. 13: A huge range of tones and textures can be seen here.

Fig. 13 shows just how different colours and textures can appear even in the same field. The tufts are prominent, growing from the very short grass that typifies the majority of the field. The grass around the edge of the field is longer and contains a fair mixture of weeds and other plants. The tufts are as tall as the sheep.

Fig. 14: A stunning old oak tree stands alone.

Bordering this part of the field there are drystone walls and fences running adjacent to each other. Note the stile in the corner of the field, a nice detail to add to any countryside fence or wall. The old oak tree stands all alone (Fig. 14) and is therefore very rounded in shape due to the abundance of light it receives from all directions. It is fairly open in texture, too.

Fig. 15: A variety of trees stand towards the rear of this scene.

A row of assorted trees showing a huge variety in both colour and texture runs along the far side of the tracks (Fig. 15). Thick ground-cover vegetation grows even underneath the trees along this stretch of railway. Note the almost dead tree to the left-hand side of the photo. Two light green saplings now grow in what would once have been its shade.

Fig. 16: Two small, very different trees stand in front of the railway line. Note the track being checked.

Small trees grow on the near side of the track (Fig. 16). A high visibility overall adds colour to the greenery of the trees. Note the difference in both colour and texture between the two types of grasses growing on either side of the drystone walls.

Fig. 17: This photograph shows the several shades of green and the textural difference between the trees and grasses in the area.

In Fig. 17 a Deltic is dwarfed by the trees to the rear of the track and hidden from view by the trees on the near side of the track. The lushest, greenest grass tends to grow on each side of the path that runs along the wall bordering the railway line. The grass in the rest of the field in front of the wall tends to be long and full of tufts, with obvious colour variation.

Fig. 18: This is exactly the type of scene that offers plenty of scenic possibilities to modellers.

In Fig. 18 the train disappears behind trees on the near side of the track as it runs out of view; this may be useful for disguising traffic entering a fiddle yard. This photograph has a great deal of valuable information in it – and note how much the background hills and sky resemble readily available pre-printed back scenes.

Fig. 19: A close-up study of the track and ballast colours.

In Fig. 19, note how the sides of the rails are actually almost the same colour as the sleepers, as opposed to being a bright rust colour. Of course this does vary and is a noteworthy detail. The ballast directly beneath the rails is also slightly discoloured, and the individual sleepers vary somewhat in colour. The sleeper to the left has a layer of ballast covering it.

Fig. 20: Silver birch with a very open foliage structure.

Fig. 20 shows a beautiful silver birch tree that grows next to the path on the side away from the wall. Note its open structure and how its branches grow in relation to the hillside to the right of it, mirroring the angle of the slope.

Fig. 21: Some trees naturally show a large proportion of their trunk, whilst some show none at all.

In Fig. 21 a row of trees stands behind a simple fence. The fence here consists of wooden posts and just two thin wires running horizontally along the posts, the wires held in place with simple ‘U’-shaped nails. The scene is characterized by many different tones of green, and a fair number of dead branches, too. In the field there are long tufts, docks, thistles and other weeds growing.

Fig. 22: Note the tiny remains of the original fence in the foreground.

Fig. 22 shows a mature sycamore tree in full leaf standing just behind the new fence. The fence is constructed using rounded, pole-like wooden posts and wire; some of the fence posts are far from vertical. In the foreground can be seen the remains of an old, weathered fence that once enclosed the field. It was built using square-edged wooden posts.

Fig. 23: A well-proportioned, mature sycamore.

The very mature sycamore tree, depicted in Fig. 23, growing next to the river is a little way from the railway, but is a typical example of the size and style of the trees to be seen in the area. Note how low down its branches start obscuring its entire trunk. Around its base grow a variety of grasses, weeds and wild flowers.

Fig. 24: Solitary trees often develop an even, rounded growth formation.

Another old sycamore tree grows alongside the river, as depicted in Fig. 24. This time some of its lower trunk can be seen, as it has no low-growing branches. Some of the branches growing further up the trunk can be seen through the open canopy of leaves. Note, too, the size and colour of the stones at the edge of the river: this stone colour is typical of the area and will be used wherever rocks are visible on the layout. The river itself at this point is fairly shallow and there are signs of rippling as the water runs over the rocks on the river bed.

Fig. 25: This photograph shows many of the details worth including in any model landscape.

Fig. 25 shows a general view of the type of landscape around Irwell Vale. Note the various tufts and weeds growing in the field and the variety in the colour of the grasses. In front of the row of trees stands a simple fence made with rounded wooden posts. The dense foliage and assorted colours of the trees serve as a useful backdrop to the scene, and there are also a few dead or dying trees among the living ones.

Fig. 26: Longer grass skirts the track side.

The track runs over an underpass. To the lefthand side of the underpass long grass borders the track, while to the right can be seen the start of a stone wall (Fig. 26). Note how the ballast spreads from the sleepers to the wall, and how short grass grows through it.

Fig. 27: Thick slabs of stone cap the pillars on the underpass. Note how short the well-grazed grass in the distant field appears.

In Fig. 27 small weeds can be seen growing along the base of the wall. The pillars of the underpass wall are capped with heavy coping stones. Note how well grazed the field in the background is: the grass appears to be very short.

Fig. 28: A fantastic-looking line-side hawthorn and other small trees grow along the track.

Fig. 28 depicts a few hawthorns and small shrubs that run along the embankment on the opposite side to the row of trees. Note the trunk of the hawthorn is completely obscured by foliage.

Fig. 29: A good reference to the colour of the rails, sleepers and ballast.

Fig. 29 shows a close-up of the railway line with its well weathered wooden sleepers. Note the weathering of the ballast, too, and the variety of colour present in the ballast. This photograph gives a good visual example of the shoulder of ballast as it falls away to the wall of the underpass.

Fig. 30: A great overall photograph of the type of landscape surrounding Irwell Vale.

Fig. 30 shows the type of landscape surrounding Irwell Vale. The long grass in the corner of the field makes way for the much shorter grass and tufts in the main field. A mix of drystone walling and fence separates one field from another. Telegraph poles are evident carrying cables over the fields.

Fig. 31: There are plenty of details on this overgrown embankment worthy of modelling.

The image in Fig. 31 really captures all the elements I want to include in the layout, both in colour and texture. The fence running along the embankment is almost totally obscured by vegetation. One of the trees has its lower trunk visible whilst others have their trunks obscured. Long and short grasses run along the embankment and are peppered with colourful wild flowers, and an immense range of foliage colours and textures blend together to give fluidity to the landscape.

Fig. 32: This photograph shows how the ballast and the short and long grasses blend together.

In this photograph (Fig. 32) note how the ballast in front of the platform is much more weathered than the ballast shown in Fig. 29 (which is on the approach to the station), and also how the sleepers have changed from weathered wooden sleepers to more modern concrete ones. The grass growing at the side of the track yellows where it meets the ballast. Note also the dark oily line running parallel with the right-hand rail. Details like this don’t have to be added, but can bring extra realism to your layout.

Fig. 33: It’s said a picture is worth a thousand words.

Note that in this general view (Fig. 33), some of the grasses growing on the right-hand side of the tracks are growing almost up to the rails. This is another image that captures many of the elements that give this stretch of line its character.

Fig. 34: A great case of perspective in action, both of the carriages and the trees on the hillside.

Creating perspective in our models is a useful way of tricking the eye. In Fig. 34, note that as the carriages get smaller, so do the trees in the background.

Fig. 35: Sheep are an important feature of the landscape, and also give an indication of the scale of the natural features.

Another good example of perspective is shown in Fig. 35, in the difference in size of the sheep between those in the foreground and those in the distance. The grass is very short in the field, and although not visible in the photograph the surface of the field is peppered with small stones which are the same in appearance as those found in and around the river.