The story of this layout started when we moved to Guisborough - a lovely old market town that has long been in North Yorkshire but which has, in the past, temporarily resided in ‘Teesside’ and ‘Cleveland’ from time to time.
Whatever its’ origins, Guisborough was to break into the limelight with the discovery of ironstone in the surrounding hills around 1850 and the north’s very own ‘gold rush’ began.
The population of the town grew from around 2,000 in 1830 to over 7,000 by 1890 – a fact not lost on local entrepreneurs who soon realised that a railway would serve the town well – especially to get the iron ore to the blast furnaces of Middlesbrough.
History of the Railway
Guisborough Station opened for mineral traffic on 11th November 1853 but passengers had to wait until 25th March the following year to be able to sample the delights of rail travel. The terminus station was on the Middlesbrough and Guisborough Railway, part of the mighty Stockton and Darlington Railway Company.
There followed a long battle by another group of industrialists who, despite strong objections by the supporters of the S&D railway, were to put in another line – the Cleveland Railway – eventually stretching from the River Tees at Middlesbrough to Loftus in order to serve the ironstone mines further into East Cleveland.
This line crossed over the Guisborough Railway just 200 yards from the station entrance and eventually a connection between the two was opened on 23rd November 1861.
The D&S Railway was taken over by the North Eastern Railway (NER) in 1863 and the Cleveland Railway followed two years later. With both lines now under the same ownership the NER decided to abandon the Cleveland Railway route.
A passenger service east of Guisborough to Loftus and Saltburn was opened in 1875.
Train movements were complicated however and went something like this: Middlesbrough – Guisborough (reverse) – Hutton Junction (reverse) – Brotton (reverse) – Saltburn West Junction (reverse) – Saltburn.
Special permission was given at Guisborough for a pilot engine to draw Middlesbrough to Saltburn trains out of the station as far as Hutton Junction and to draw Saltburn to Middlesbrough trains from Hutton Junction into the station, both with the train engine at the rear, thus reducing delays.
The introduction of autocars from 1905 then Sentinel steam railcars from the late 1920's eased the situation and the use of push-pull units by the LNER further helped. A succession of different permissions relating to propelling of certain trains was given until, on 16th March 1932, Guisborough signal box was abolished and the box at Hutton Junction was re-named Guisborough.
The former ‘up’ and ‘down’ lines to and from the station were re-aligned and became two single lines serving passenger and goods trains respectively.
The following year permission was granted for Middlesbrough bound trains to reverse from (the new) Guisborough signal box to the station platform when consisting of up to seven coaches provided the platform was clear to the buffers and the guard had access to an automatic brake valve.
A post with a marker board lettered ‘7’ was placed near the platform starting signal to assist the driver.
The closure of the line was extremely rapid as the following timetable shows:
14 June 1963 Closure proposals announced. 23 August 1963 Public enquiry held in Middlesbrough. 27 November 1963 Consent to closure issued by Minister of Transport. 13 February 1964 Closure date announced. 2 March 1964 Last passenger train ran.
Goods services to Guisborough continued until 31st August 1964 and the whole station site was cleared in May 1967 when a health centre and public car park was built.
The goods yard dealt with a large variety of freight including: parcels, timber, iron, steel and scrap, gas water, barley, corn and animal feedstuffs, tar pitch, cinder, gravel, sand, fish, livestock – horses, cattle, sheep.
There were also 18 coal cells supplying a large area with coal.
Large numbers of racing pigeons were handled – being either released by station staff or sent to other destinations for release.
By the time we moved to Guisborough in 2002 much of that had been forgotten even by the residents and virtually all trace of a railway had disappeared save for a few remnants. The main track bed of the Middlesbrough to Whitby line is now used by cyclists, runners and people ambling along with their dogs.
Housing estates surround the track bed and the branch into Guisborough itself has one or two areas visible but, in large part, has disappeared forever beneath a DIY store, Health Centre and public car park.
The original entrance to the station on Bow Street can still be found and there are remnants of the stone wall that surrounded the station and goods yard.
I sort of took a passing interest in these things as my wife is a keen family historian and we would walk the line of the old track bed as far as we could and photograph anything that remotely resembled anything to do with the railway.
I bought an old Godfrey's Map of 1927 and would pace out some of the features to try and place exactly where they would have been.
I'm afraid that's as far as my ambition went though as the thought of my ever building a scale prototypical exhibition layout just seemed too daunting for a man of my limited skills and experience.
Until, that is, I joined the Cleveland Model Railway Club where I received much help, advice, encouragement and the opportunity to develop my modelling skills working on the club layout 'Jowett Junction'.
I rapidly developed the confidence to try scratch building various models and to try out new techniques for scenics, painting and the black art of electrics.
The research I had done on Guisborough interested me greatly and my confidence grew enough for me to make the decision to build it.
There followed a couple of years of research and planning before work on the base boards began in January 2007.
I really wanted to model the whole of the station area as it was in its heyday but set in the late sixties when diesel and steam locos co-existed.
It was apparent from the research though that even by the 1950's things had gone into decline.
The signal box had closed and the branch was controlled from the box at Hutton Junction - now renamed Guisborough.
The turntable had long gone, so had the engine shed and much of the track work to the horse dock and bay platform too.
Then, one day whilst strolling around Pickering Station on the North Yorkshire Moors Railway, I was struck by the thought "I wonder what Guisborough would have been like if it had been preserved?"
That was the answer.
Instead of closure in 1964 the station was saved by the fictitious Guisborough Railway Preservation Society consisting of a board made up from local business men, active volunteers and enthusiasts with the intention of maintaining the local goods and passenger services and developing the whole as a tourist attraction and living museum of the railway in Guisborough.
There was much sense in adopting this strategy as I could now go ahead and design the layout as it would have been in its’ heyday using the rationale that local fundraising and the award of grants has allowed the restoration of facilities like the engine shed and turntable.
It also meant that in addition to a prototypical passenger and goods service being operated by diesel and steam era locomotives there would be the opportunity for ‘special’ trains to run on excursions, visits and even routine events such as dining experiences.
Firstly, I began by checking the plans of Guisborough so that I could design how long the end to end layout would need to be.
Ken Hooles’s book ‘North Eastern Termini Stations’ was an invaluable first step as it contained an excellent detailed section on the railway complete with track plan and line drawings of the station, goods shed and coal staithes.
Unfortunately, it soon became obvious that, like most railways, it had changed over time and the first track plan I had differed in many respects to some of the photographic evidence.
Copies of plans from the North Eastern Railway Association were obtained and these showed where, after changes were made to the operating procedures, the up and down lines into the station were realigned to accommodate the changes.
With the help of a club member, who has infinitely more knowledge and experience of railway operating procedures than I, a final, realistic, track plan was drawn up.
This had to be done in conjunction with choosing an era upon which to base the model and, once again, serious issues had to be overcome.
In order to accommodate the length and width of the area I wished to model in ‘OO’ gauge (4mm:one foot scale) and include features like the gas works and (rail served) foundry I had to compress the layout slightly but ended up with 20’ x 32” of scenic sections with a 4’ fiddle yard on the end.
Conventionally built of 75mm x 20mm softwood frame with a 12mm ply top the middle scenic board has two sets of legs that are cross braced to give stability and the rest of the boards are supported on legs that slot into the corner of one end and then piggy backed on the previous board.
Boards are joined using 75mm loose pin hinges with the pin replaced by a 100mm x 4mm rod bent at right angles for ease of use.
These are suitable for locating and lining up the boards but do not give a tight joint so I also use 6mm roofing bolts fitted with large washers and wing nuts through the end cross members to clamp them together tightly. Baseboards are covered with 300mm x 300mm x 4mm thick cork tiles.
Peco Code 100 flexible track with insulfrog points has been used throughout.
The plan was marked out on each board and trackwork loosely pinned to show where the points needed to be. Initially I started by cutting holes in the baseboards for the point motors to fit directly to the track but changed my mind part way through and used Peco (PL10) mounting plates to mount the rest beneath the boards.
I would later regret this as, when the full layout was eventually tested, all the point motors mounted directly to the track worked perfectly from day one whilst most of those mounted beneath the baseboards needed some adjustments to get them to operate properly.
Where tracks crossed board joints these were marked out before removing the track and screwing small slotted head brass screws into the boards at these marks just a few millimetres in from either side of the joints.
Once these were screwed to the correct depth to sit beneath the rail I soldered positive and negative dropper wires into the slots on the screw heads.
These wires had to be buried in shallow grooves cut into the cork so that they would not foul the track sleepers and would drop clear of the framing.
Dropper wires were also soldered to the underside of the rail connectors at each of the toe ends of the points to take the main power feeds.
Now the track could be re-laid across the board’s joints with the rails being soldered to the brass screws before being cut through with a slitting disc.
This ensured that the rail ends would always match up whenever the boards were reassembled.
Control of the layout is by three controllers with number 1 controlling the passenger lines, engine shed, horse dock and turntable.
Number 2 controls the goods lines, goods sidings and coal staithes and number 3 controls the foundry.
Double pole, centre off switches allow number 1 and 3 controllers to be switched to number 2 (goods) controller so that the whole layout can be operated by one person and also to facilitate movement from one section to another.
Accordingly, the three sections are isolated from each other and separate switched feeds were taken to isolated sections in the head shunts, engine shed, bay platform and at the ends of the main passenger and goods lines so that a loco can be isolated at these locations.
The fiddle yard is four foot long with the main tracks exiting the layout from below Sparrow Lane Bridge and onto a lift out cassette.
There are four cassettes so trains can be made up ready for use or empty cassettes used to take trains as they leave the layout.
Electrical contact for these cassettes is achieved through a set of four brass plungers (from household light fittings) set into the baseboard which are wired through on/off switches to the respective controllers.
Sections of copper clad board are glued to the underside of the cassettes and wired to the rails above.
Wiring the layout was, perhaps, the task I feared most but, with the help of two other Club members with much more experience of electrical systems, the task was undertaken with excellent results.
Operation of the layout is best achieved with three people using handheld controllers; one on each of the goods and passenger controllers and a third changing stock on the cassettes and also controlling the foundry from a separate control panel located near the fiddle yard.
With the trackwork laid and tested I moved onto ballasting.
N gauge granite chippings are used which were spread along the track then brushed into place before being fixed in the usual way with a 50:50 mix of PVA glue and water with a few drops of washing up liquid added to reduce the surface tension.
I sprayed a fine mist of water over a section of track then spread the PVA mix over the granite ballast using a washing up liquid bottle to tipple it along the main track lengths and an eye dropper to do around the points.
Another slow, boring but very important task is painting the track and this was made slightly easier by placing each board upright on its’ side but it was still a laborious task.
I tend to use a lot of acrylic paints and had a mixture of brown and burnt umber which gave a dark, rusty finish when dry.
I had thought this would suffice but when fully dry I then went over all the track areas with Railmatch Sleeper Grime which obviously got onto the rail sides but I found it enhanced the colour I had already put on so left it.
Due to changes made in 1932 to the original track layout there were slight reverse curves just on the approach to the station platform and also on the station side of Sparrow Lane Bridge.
I hadn’t planned to incorporate these but, because I wanted to include parts of Fountain Street, the Gasworks and the Foundry in the back scene, I had to ‘skew’ the lines slightly and then, in order to ensure they exited at the right place on the entrance to the fiddle yard, had to use reverse curves to get them in the right place.
Unfortunately, I didn’t give enough consideration as to how tight these curves were and it soon became obvious that some rolling stock (especially with three link couplings) had problems negotiating the curves without buffer locking or even falling off the track!!
The only way to eliminate the problem was to ‘ease’ the curves and this meant taking up the affected track and re-aligning it – not a task for the faint hearted and I could have easily been persuaded not to do it.
However, with some help the modifications were made and it proved not as difficult as at first thought.
The ballast was thoroughly wetted and left to soak awhile before being scraped out from the tracks and then the track pins removed. A thin blade used to slip beneath the sleepers to break the seal between them and the cork underlay before the track could be gently repositioned, pinned, ballasted and painted.
The worst one was the curve on the goods line in the station area as this incorporated a point to a siding and a new, longer, curved point was needed to ease the line here.
Once that was done the goods and passenger lines were changed to follow the same curve and, when tested, all the previously affected locos ran well through each curve.
The overall appearance is improved no end and no one would ever know the track had been repositioned.
Signalling and Turntable
Signals are built from components in the Model Signal Engineering (MSE) range and are electrically operated from the main control panel using servos normally found in radio controlled cars and aircraft beneath the baseboards.
Finally, I had to decide upon the turntable.
The original, installed around 1887/8, was quite small at 42’ and had been removed in 1922 and sold as scrap for just £33!
Given the limited size of the baseboard I first thought I would not be able to get a working turntable on without using another bolt on section to carry it.
Another alternative was to build just part of it as a representation that it was there.
Or, I could just leave the space empty as if it had not yet been replaced – a situation that increasingly looked more attractive as I pondered the work involved building and installing one.
Having settled on this last idea a 164mm diameter circle of plastic card was cut out to represent the 42’ turntable so that I could see where the short piece of redundant track would go to.
The plan was to place a chained down sleeper over the end of this and take out a half circle of the 4mm cork surface to resemble the filled in well of the disused turntable.
This was placed on the baseboard and…..it fitted in!!
Any reason for not including the turntable had, in an instant, disappeared.
The hole was duly cut out and a false bottom made of MDF fixed to the underside of the baseboard.
A turntable was built from diagrams using plastikard and a few parts cannibalised from a Dapol turntable kit.
The handrails are made from brass wire.
The turntable was motorised using a small 3 volt motor driving a gear wheel fixed to the spindle which meshes with a second gear wheel fixed to the spindle of the turntable.
An indexing disc is also fitted to the underside with two notches made that correspond to the appropriate places to stop.
Spring arms on two micro switches automatically stop the turntable at the correct place to line up the tracks.
Power is fed to the turntable track via an on/off switch so that the loco can be isolated while the turntable is operated.
The two microswitches are wired to Controller One via a two way – centre off switch on the control panel.
To operate, the loco is driven onto the turntable and power to the track switched off.
The turntable is switched on and the Controller is used to operate the turntable.
The speed can be altered using the controller.
When the turntable reaches its position the microswitch spring arm falls into the notch on the index disc and switches the power off.
The turntable cannot be operated again until the switch on the control panel is switched to the second position.
Power to the turntable can now be switched off and the track power switched on. The loco is driven off.
Possibly the most difficult thing to do when building prototypical buildings that no longer exist is obtain enough material to show just what they were like but I managed to obtain a large amount of material from a variety of sources.
The majority of buildings are scratch built using a plastikard shell laminated with embossed brick, stone or corrugated iron cladding.
The largest foundry building is nearly 4’ long and I did experiment on this by using foam board which gave a very strong, light carcass but, at 10mm thick, I found it more difficult to cut the window apertures so returned to using plastikard.
Windows and doors are fabricated using plastic strip, gutters are ‘u’ shaped plastic strip and the down pipes are a mixture of brass rod to represent the larger bore used on industrial buildings and plastic rod on the domestic buildings.
The ‘spear’ type security railings inside the toy shop windows is actually Ratio fencing cut in half and inverted inside the windows. The embossed brickwork and corrugated iron sheeting is from the excellent South Eastern Finecast range.
The main station and goods yard buildings are a very complicated shape with lots of detail but, fortunately, I had detailed plans and photographs from Ken Hoole’s book on North Eastern Termini to work with.
As this building is one of the most prominent features (and perhaps the most well known of all the buildings on the layout) I tried to capture as much of the detail as possible even making the angle iron trusses used to carry the station roof and a brass etching for the trellis around the front door.
Plans of the engine shed and coal drops were also contained in the book so these were relatively simple to execute.
The terrace of six NER cottages on Fountain Street are no longer in existence but I managed to acquire a couple of old photographs of the frontages but then a new local history book was published that contained several shots of the cottages being demolished.
Fortunately, one of these gave a glimpse of the rear elevation which was quite different to the front.
The two storey fitter’s shop, directly behind the coal staithes embankment, was one that particularly had fond memories for many of the CMRC members as it had been the clubhouse for several years (in the 1980’s) after the railway had gone and before its’ own demolition.
Again, I had good photographs and drawings with which to work from so was able to get this building a reasonably close likeness to the original.
Initially, all my earlier buildings were painted in ‘solid’ colours to represent brick or stone and then weathered using a very watery grimy colour and weathering powder.
On this building I decided to try the technique of giving the walls an all over coat of mortar colour then wiping this off while still wet.
When completely dry the brick or stone colour was ‘dry brushed’ over this giving a much more realistic impression of raised brickwork without covering the paint in the mortar joints.
The gasholder is a Skaledale model with the clumsy trellis cleaned up with a file and then heavily weathered.
To compliment this and provide additional gas works infrastructure I used the Skaledale retort house and electricity sub station but scratch built the gas works office.
By this time North Sea gas had reached Guisborough and I had several photos of the high pressure tank being transported to the site and after installation.
The model is made up of two caps from aerosol deodorant spray cans glued to a cylindrical middle made from a canister of black peppercorns with the top and bottom cut off.
The tank was then covered in self adhesive labels cut to the right size to represent plating and slightly overlapped.
A staircase and inspection platform was fabricated using spare parts from the off cuts box and added before the model was painted and weathered.
The remaining buildings along Fountain Street are a mixture of wonderful, architecturally diverse, houses (many converted to shops with flats above), a large toy shop and stationers, a Masonic Lodge, a picture house (now a gym) and, at the far end, a Thai restaurant which occupied a building that once was the Fire Station in the days of horse drawn or hand pumps.
I did manage to see one or two old photographs of some of these buildings but not all.
It also became abundantly clear that these buildings would change far more often over the years than the industrial ones on the layout.
In fact, in the two years from my taking the first photos of Fountain Street to the next, more detailed series, two of the shops had changed hands and were completely different.
So I decided to recreate all (well most) of them using the present day buildings, so they are not exactly as they would have been in the late 1960’s.
On the other hand, they are instantly recognisable to local people and were also easier for me to model as I didn’t have to rely on historical research!
I say most are based on present day but what I really mean is that all the infrastructure is as seen today but a long time before starting the layout I had bought a great kit to produce a large external fluorescent sign on a building so I modelled the present day gym as a picture house as it would have been back in the sixties and fitted it with an illuminated ‘CARLTON’ sign.
Before starting on scenics the back scene boards were cut from 6mm MDF and fixed in place.
Several ‘hinged’ hatches were cut into the back scene where the large foundry buildings are located so that additional fiddle yard tasks such as exchanging empty wagons for full ones can be done out of sight of the public.
When it comes to back scenes I feel there are some modellers who are very good at painting them in perspective – as I am not one of them I chose to paint them a sky blue fading to paler blue at the bottom and then, whilst still wet, adding streaks of greys and whites in stokes across the boards to give the effect of streaks of high cloud.
However, this did leave some parts of the backscene with unsightly (and unlikely) blue gaps at ground level, especially where the end of Chaloner Street (which wasn’t being modelled) opened out onto Fountain Street (which was).
Although much of the blue back scene would eventually be covered by low relief buildings I experimented with digital photographs of the street scenes concerned and (with my limited ability and knowledge) manipulated them on the computer to match the gaps in the back scene.
The end result is a quite believable finish to the back scene gaps which adds a little perspective and depth that I could never have achieved otherwise.
A plate bridge carried Sparrow Lane over the railway lines to give access to an old farm at the foot of the Cleveland Hills.
This forms the entrance to the fiddle yard and was created using Ratio bridge plates on a plastikard base with embankments made from plaster coated expanded polystyrene that carry on down as shallow embankments along both sides of the tracks.
An additional embankment was made in the same way to take the two tracks up to the coal drops.
These and the surrounding ‘fields’ were covered in scatter material and Peco flexible fencing has been used to separate these from the railway.
A few hedges have been made using rubberised horsehair and green pan scrubbers.
Of the two I prefer horsehair which is simply pulled into clumps before being teased out into the desired shape, soaked in diluted PVA and tossed in a tub of scatter material.
If the resultant hedge shape doesn’t quite fit it can be easily trimmed with scissors and more scatter added.
The trees in front of the station are still there today and are quite prominent so I bought some specimen examples to place here.
Others have been made from Woodland Scenics tree kits with clump foliage and additional scatter fixed to the shaped armatures using spray mount.
Right at the far end of the station baseboard where Bow Street disappears into the back scene I was unhappy with the perspective but, again, was not confident enough to paint this into the back scene.
Instead I have used a mixture of stone walling, a digital photograph of the far end of Bow Street and some half relief trees to disguise the corner.
I even sliced a Basetoys truck in half at an angle so that it looks as if it is driving into the backscene.
Finally, to complete the illusion, roadways were painted using Greenscene (textured) Tarmac mix.
This included taking the paint mix into the perspective photographs too which ‘joined’ it all together.
Most of the buildings have lighting installed and there are LED street lights in Fountain Street and Bow Street.
I mentioned earlier that the picture house has a large illuminated sign showing it to be the CARLTON Cinema and the two storey fitter’s shop has an electric arc welder installed.
All these are wired into the control panel with the voltages reduced to the appropriate level.
When creating a model railway layout it is important to remember that it is your layout and, even with one that is based on an actual location, you can always put some of your own personality into it.
I couldn’t resist depicting some memories direct from my own life and, as I spent nearly 20 years on the Ambulance Service, an ambulance crew are just emerging from one of the flats above a shop in Fountain Street with a casualty on a stretcher who is to be loaded into the back of the Austin LD Ambulance - which was a bit before my time but is appropriate for the time period.
These are all Langley kits and figures but I have installed a realistic scale blue flashing light (Express Models) on the ambulance.
When I left school I worked for a while on the local authority highways department mending roads and pavements – hence the street mending scene at Bow Street.
Even the rolling stock has special memories.
The Deltic is ‘Kings Own Yorkshire Light Infantry’ which was my Dad’s old regiment, The V1/3 No 67635 is an engine that we would have travelled behind on our Sunday trips to Bridlington and the ex L&Y pug represents the two pugs that scurried up and down the dock railways at Goole where Dad worked on the coal hoists.
Vehicles and Rolling Stock
As I have next to no experience or knowledge of railway operating procedure another club member drew up an operating timetable utilising the variety of locos and rolling stock we had available between us that included many elements of the original timetable plus some believable ‘extra’ trains thrown in.
The part finished model was first exhibited at Hartlepool Show in 2008 using this timetable which served as a very good proving ground and helped us to see where things needed to be changed.
Stock for the layout is a mixture of my own and those of other club members who help to operate it at exhibitions.
One lesson learned was how difficult and time consuming it could be to couple/uncouple stock using tension lock and three link couplings so all the stock has now been fitted with Kadee couplings which operate by delayed action magnets at strategic positions on the track.
My own loco stock includes the following:-
Hornby Black Five Bachmann Standard 4MT Bachmann V1/3 B12 Kit built D20 Bachmann Deltic Bachmann Class 37 Bachmann Class 25 Heljan Class 47 Hornby Pug Hornby 110 DMU (3 car) Hornby 101 DMU (3 car) Bachmann Class 04 Kit Built Sentinel Steam Railcar
Additional loco and rolling stock is available from other club members and includes a G5 Push Pull set which would have been the mainstay of passenger operations on the line.
Coaching stock includes (Bachmann) Thompson corridor in BR maroon and Crimson and Cream, Gresley Corridor in Teak (Ian Kirk Kits), Gresley Corridor in BR Maroon (Ian Kirk), Pullman Dining Cars (Hornby).
The Blackett and Hutton Foundry purchased a Ruston and Hornsby DS48 (No 265617) in 1948 which spent its’ entire working life there until the foundry was demolished.
It was rescued by a local haulier and is presently being renovated by Northumbria Rail at their Longhaughton Goods Yard premises.
This was one little loco I wanted to depict accurately if I could but, so far, I have been unable to obtain a kit for it. However, I saw a great article in the October 2008 edition of Railway Modeller where a short shunter was made from cutting down the Knightwing Industrial Shunter kit.
At first glance I thought it had a look of the DS48 and decided to try and use the same kit for my model.
It was my first attempt at building a loco and took quite a bit of work but, based on a Tenshodo power bogie and heavily weathered, I feel it does give a passable impression of the real thing.
Due to the very short wheelbase it did have some difficulty negotiating the small radius points used in the foundry yard so I also made up a ‘shunters’ wagon out of an old Dapol wagon chassis.
Single planked sides and ends were added and pick ups made form phosphor bronze wire added to each wheel before permanently coupling it to the shunter.
A few bits of junk, tools and balks of timber added before some heavy weathering completed the model.
The extra pick ups have eliminated the stalling problem when crossing the points and aided slow running.
Not too long ago it was quite difficult to obtain good, detailed models of road vehicles in this scale and usually meant building white metal kits.
In just a few short years this changed to the point where we are spoilt for choice with so many model companies producing cars, vans and trucks in every shape, size and livery.
With just a couple of exceptions, all the vehicles are from the Oxford, Classix, Corgi, Trackside and EFE ranges.
The dropside truck in the roadworks was a flatbed so I had to make sides for it before it was given an appropriate load and weathered.
Over time I will be adding details such as drivers (where appropriate) and weathering all my road vehicles, locos and rolling stock.
The tracked crane in the foundry yard is a Kibri plastic kit.
The kit comes in an unrealistic plain, very bright yellow so I started by painting it all over in dark rust.
When dry (and working to a picture of a real Ruston Bucyrus crane) I applied Maskol (a liquid rubberised compound) to parts of the model that I wanted the rust to eventually show through.
Then the whole kit was painted mustard yellow and left to dry.
The upper half was masked off, the lower part painted maroon, black ‘wasp’ stripes added to the rear fender and the tracks coloured with a grimy grey/brown.
Finally, the Maskol was peeled away with tweezers to reveal the rust colour beneath.
This also leaves rough edges to the top colour as if it is peeling away as the rust eats away beneath the surface.
The whole model was then dry brushed lightly with rust and a light covering of weathering powders added.
This little project was my first real attempt at painting and weathering a vehicle and, although I was worried initially about how it would turn out, one which I am quite proud of.
When I began researching this project I was struck by the amount of local people I spoke to who had either no idea that a railway had ever existed or, if they did, where it had been.
As a result, I had always intended to try and exhibit the layout locally before it went anywhere else and contacted the Clerk to Guisborough Council with a view to acquiring space in the Town Council building to do just that.
Once the Town Council heard of my plans and saw some of the early photographs they were convinced that it was something they should support and promote.
They assisted me in exhibiting the layout in the town for three days in April 2009 – the 45th anniversary of the closure of the line. What a wonderful and informative three days those turned out to be and my thanks must go to the Town Council for supporting the whole event.
Guisborough in Preservation has appeared at other exhibitions and Club Open Days and is now available to attend other shows – organisers take note!
The layout also featured in the October and November 2009 issues of Railway Modeller magazine.
Thanks are due to the many people who have helped along the way.
In particular I must thank Geoff Allen for his invaluable help on the layout – particularly on the design and development of the prototype system for motorising the turntable; also, Andy Heslington and Paul Reed for their involvement in the new electronic panels/wiring and all the operating team without whom Guisborough would not be seen at any exhibition!
Many other Club members gave information and photographs but there has been practical help, advice and encouragement too – thanks guys – you know who you are.
I am grateful to the editor of Railway Modeller for featuring the layout and taking such good photographs.
Finally, the biggest thanks go to my long suffering wife who, despite having to put up with my long absences, losing a bedroom to railway modelling and attending many shows with me, has supported and encouraged me throughout.