A Conversation on the Veranda

As the major construction on the Ensminger Building draws to a close the focus shifts to the details.  The structure will have only the barest hint of an interior in the storefront but there are still two major areas to include details; the photo studio and the veranda.  The photo studio windows allow a viewer to peer down into the room so I think that's a prime location for a mini scene.  However, I'm going to hold off on that scene for now and address the veranda first.  

Before I can attach the veranda to the front of the structure I needed to add any details that will live there, as getting them in place once it is attached would be akin to building a ship in a bottle.  After looking through my figures and details I found a set of chairs along with a round table, three figures and a spittoon.  I also found an oil lamp sconce to mount on the wall.

The chairs were missing their legs so I robbed Peter to pay Paul and borrowed some legs from another, simpler set of chairs.  Here they are after being repaired, waiting on the glue to cure fully before painting.  Not sure why the one fellow is face down.  Maybe he didn't want to feel left out.  The men in the chair were glued in when I got the details, years ago.

After painting the legs a close-enough color I carefully glued the details onto the veranda.  I also drilled a hole in the wall and mounted the lamp sconce.  As neat as it would be to make this a working light, I'm not convinced it would be worth the effort so for now - and likely for all time - it remains as is.  The folks on the porch will be somewhat illuminated by the interior light shining through the windows.

The figures around the table and the leaning man were all part of a detailed pool hall structure I purchased years ago.  I still have plans for a billiards parlor on this layout but these fellows won't be in it.  They are now having a conversation on the veranda of the Ensminger Building.  I wonder what they're discussing...

Next, window treatments, a base and roof details.  Not sure how much of that will make it to a blog post, as I'm getting new windows next week in the real world and that process might just turn the house upside down for a while.  Happy modeling, and thanks for reading.

 

Stained Glass

The ornate glass decoration above the storefront windows of the Ensminger Building offered me an opportunity to include a similar detail on my version of the structure.  As I noted in the post "A Fancy Facade..." I don't have the space to recreate the same pattern as the prototype.  However, I can create something that echoes the look of the real thing and for me that's part of the joy of kitbashing.  Sometimes the compromises we're forced to make due to the available materials and their limitations can lead to unique and wonderful results.

I used "Testors Clear Parts Cement & Window Maker" combined with Daler Rowney inks to make my stained glass.  The inks are really strongly pigmented and somewhat translucent, though not entirely.  You can hopefully see the effect in the second image below.  I had painted the window "lead" using charcoal colored paint before applying the colored glass.  However I had to go back and touch up the lead after the glass had dried because it is quite runny and tricky to apply cleanly in such a small opening.

Blue and Yellow make many shades of Green

Still need to add the large plate glass panes

In truth this is one of those details I did just because I wanted to and "I'll know its there".  It will be mostly hidden beneath the large veranda directly above it.  While not perfect I'm pleased with the result.  If this structure weren't along the edge of the layout I might not have done this but I'm glad I did.  

The veranda and its occupants will be the topic of the next post.

Photo Finish

The photo studio section of the Ensminger Brothers building is mostly complete, lacking only window glass, final weathering, and perhaps some signage.  A fence running between the brick building and wood entry will be added when the structure is installed on the layout, but I'm getting ahead of myself.  Here are some progress images showing how I built the roof, added shingles and painted the structure.

I used dense file folder material for the roof panels.

Normally I don't like Campbell shingles but they work well here.

I chose an aged white and slate blue for the walls and trim, with a dark mudstone for the stairs and a lighter mudstone for the shingles.  The shingles and stairs received a dark brown wash while the walls received a mudstone wash.  I used charcoal black for the roofing paper, then lightened and streaked for an aged appearance.  

In the third image you can also see the brick walls have received a mortar treatment.  I sealed the paint then applied joint compound, pressing it into the mortar lines.  This can be removed carefully from the surface of the bricks using a damp sponge.  In this case I wanted a sloppy application as seen on the prototype so I was careful to not wipe away too much.  This stands in contrast to the clean look of the facing brick, though most of that brick is hidden by the veranda.

Speaking of the veranda, it received some paint as well.  Moss green for the base coat (applied with a spray can) and cactus green craft paint.  In this image the parts need a second coat of the cactus green.

 Up next, masking and painting the remaining windows and doors!  Entering the home stretch...

Fancy Facade Revisited

Something was bothering me about the storefront on my model of the Ensminger Building.  After staring at it on the workbench over a few days I realized it was the doors and windows.  I was really happy with how the small-pane inserts looked but not happy at all with the kit supplied doors and the precast two-in-one clear plastic nonsense.  The solution was to utilize parts from another kit then add more small pane muntins.  This not only more closely matches the prototype but unifies the storefront windows visually.

What follows is a sequence of images showing the step-by-step process of how I modified some N scale windows to fit the tall narrow entry windows, the new doors modified, and the assembly as a whole.

3x4 window cut down to 2x3

Side frame trimmed

Side frame reapplied

Original mullion removed, cut down window installed from behind,
 and a new mullion installed using styrene strip

Same process applied to central double door transom

Doors and side panels installed with kit-supplied entry ceiling

 

Ensminger Veranda Part 2

 ...in which our blogger attempts to bend styrene sheet and glue dissimilar materials together.

Having successfully beveled the posts of the ornate arched trellis castings from Scale Structures Limited, and finished the fancy brickwork on the facade, it was time to assemble this veranda.  First, I needed to determine exactly how and where this veranda would fit on the structure.  I had a pretty good idea that the whole thing would fit between the brick pillars on the wall.  After gluing the castings together and offering them up to the wall, this proved to be the case - exactly so.  

The castings assembled, using a straight edge and spacer for alignment.

Next it was on to the deck.  Rather conveniently the kit has a line of brick protruding from the base of the upper wall that would act as a good ledger.  A quick measurement of the available vertical space between this brick and the storefront below gave me what I needed to begin constructing the deck.  

In true kitmingling fashion I used material from one of donor kits; in this case, the scribed wood floor from the SS Ltd Gazebo.  I measured the assembled castings and cut the sheet to fit.  I pulled some scale lumber from my supplies and created a framework on approximately two foot centers, attaching it to the scribed sheet with wood glue.

Once the glue had set, I attached the deck to the lattice using gel superglue.  I find this works best when gluing wood to metal, especially when there may be a gap to fill.  The gel doesn't absorb into the wood as quickly as a lower viscosity glue, allowing it time to bond to both surfaces despite their different porosity.

Next, the roof.  The prototype is standing seam metal, and I happen to have some styrene "metal" roofing.  But the prototype is also gracefully curved and my styrene is thick.  After a little research I decided to try the hot water method for softening the styrene.  This worked well enough after some grunting and coaxing.  

The other challenge I faced with this roof was creating the ornate rafter tails.  Yes, Tichy makes some, but I don't have them and didn't want to order any and potentially stall the project while I wait for them to arrive.  I decided to try "rolling my own" so to speak by taping scale 2x4s together and gently shaping a profile on one end using files and sanding sticks.  I'm pleased with the results though I'm not sure how visible this will be once the veranda is painted.  It may just be one small detail that adds to the overall ornate feel. 

I measured and marked the underside of the roof and glued the styrene rafters to it using Tamiya extra thin styrene cement.  I love this stuff for bonding styrene to itself.  It goes tacky almost immediately on application and bonds quickly.  This let me apply each rafter at the front edge the go back and gently bend the rafters to the curve of the roof.  The fast acting glue made this a quick and painless process.

To finish the roof I cut and wedges to fit in each end between the curved roof and the top of the arched lattice parts.  On the prototype this is lattice, however, since my ornate posts include lattice already, I decided to use the same v-groove siding as the wooden extension, but running vertically.  I glue the standing seams into the provided grooves on the styrene roof panel and after some trimming and sanding the roof was complete.

I used the same gel superglue to attach the roof to the posts, double checking the alignment to the wall.  Once the veranda is attached I'll add a strip of material as flashing, though I'm pleased to say there's no real gap to hide in this case.  I'll be repeating the same steps on the side porch roof, but first, I need to do something about the storefront doors.  That'll be the subject of the next post.

The completed veranda set in place (image rotated).

 

Photo Studio Walls and First Colors

In the post "Scratch That" I talked about my choice to scratchbuild the wood extension to the Ensminger Building, the actual photo studio or gallery used by the Ensminger Brothers.  Before getting into the modeling progress, here's a brief word on these men whose name I've been bandying about in recent posts.  This page covers their early history and roots in Iowa:

http://www.pioneerphotographers.com/files/Iowa/Ensminger.html 

More relevant to the structure I'm modeling, is this information from the Orange County Regional History Center:

"The Ensminger brothers were two of the most prominent 19th-century photographers in Central Florida. They moved from Iowa to Florida in time to photograph American troops stationed in Tampa in preparation for the Spanish-American War. In 1884 or 1895, Jefferson Clay Ensminger moved to Sanford, where he opened a photography studio with his brother on the west side of North Park Avenue, just a few blocks from the St. Johns River. J.C. Ensminger was known to be friends with Henry Sanford as well as the official photographer of Henry Plant’s Railway System." 

Now back to the model making.

I used V-groove styrene siding to make the walls.  This was a bit fiddly as I hadn't planned for the corner posts in my measurements and had to allow for it or trim off the ends.  That was made more challenging by the odd dimensions of the pitched roof section.  I carefully built up the wall with the large windows before taping the glass itself (cast into the window frame...grr...) in order to prime.  Once the walls were assembled I did just that, giving it all two thin coats of gray.

After the first light coat of primer.

I also managed to paint the brick structure at my local gaming store's paint night.  I usually bring Star Wars Legion minis, but from time to time I raise some eyebrows (in a good way) by bringing something in HO scale.  For the common brick I used a blend of Georgia Clay and a red color, lightening first with tan and then orange for the successive highlight colors.  For the facing brick on the facade I used a Brown Iron Oxide, darkened with a dark chocolate brown for variation.  Here's the result:

The mortar will come later in the process, closer to final assembly.  I spent last night getting the doors sorted.  I've also made great progress on the veranda and side porch which will be featured in an upcoming post.  Thanks for following along.  Happy Modeling!

Another Crescent Solution

When inspiration strikes you've just got to run with it, especially when it potentially solves a problem that has long plagued me.  The problem?  What to do with that crescent of land along the street across from the business block on my layout.  Since the initial planning days it has been a set of residential homes, a gas station, a park with a horse-car on display and a bandstand, a gas station again, and now?  Now it just might become a streetcar depot.

Here's the latest plan:

Note: the scenic depictions in this plan are NOT to scale.  In particular, the crescent of land where the Streetcar Depot is indicated is in reality narrower than shown.  More about the plan in a minute.  First, the inspiration:

The image above comes from a long-defunct website about the Northern Electric interurban line and its depot in Woodland, California, near Sacramento.  Thanks to the Internet Archive the site is still accessible here.  I've long wanted to include some Spanish Colonial architecture on the layout as it helps set the locale and the era, central Florida in the 1920s.  Though 2000 miles distant, this structure contains elements I want to include; the arcade, the tile roof, the parapet ornamentations and most importantly the trolley inside the building.

I was never totally happy with the original stub-end streetcar line down the center of the street, ending abruptly at the intersection of Orange Avenue and some as-yet-unnamed street.  Some of the ideas for what to put in the crescent were in response to that discomfort.  I had pondered sending the track around the corner and down the alley to the site of an old barn, the former car barn for the horse-drawn car now turned into an automobile mechanic's shop.  That'd work, sure, and would fit nicely into the overall narrative of evolving transportation in the 20s, but as that area evolved that plan changed as well.  

For a brief moment I considered running the line all the way down that un-named street past the motorcycle cop indicated on the plan above with a second line extending past the mainline station but the thought of building six rail crossings - dummies even! - gave me shivers.  Terminating the line at the crescent made sense logistically as well as narratively as long as some sort of terminus was located there.  Before I had imagined selling trolley tickets from a storefront; a common practice even depicted on the cover of Middleton's tome, The Interurban Era.  However, this new structure makes the storytelling simpler and more direct.

Beyond the narrative role it brings more balance to the scene, visually.  Specifically the structure is taller and offers more mass than other options.  Once the track and paving are in place I suspect this effect will be felt more fully.  That's one of the reasons I decided to shift the street track closer to the crescent, to lend its mass to that shape.  The other is for ease of pole-planning, locating the trolley wire on one side of the street hanging from single-arm poles.  There's prototype precedent for this offset arrangement in Ybor City, Tampa, by the way. 

Enough chatter, here's the photocopied foam-core mock-up:

I've left the roof off, for now.  Walls are enough to determine the footprint and rough size overall.  The arcade is built from that kitmingler's darling, the Revell Engine House.  The station building itself is the Model Power (Pola) Station.  (No, really, that's what it's called, simply "Station".  Ugh.  Might as well throw "vintage" and "brick" on there too.  Technically correct but really useless descriptors.) 

Here are a couple more angles to locate the scene on the larger layout:

Note the Ensminger Building in the foreground.

You may have noticed that both of the donor structures are entirely brick.  Should I go ahead with this plan, I'd be trying something with this kitbash that I've wanted to try for some time now.  I'm going to stucco the walls, hiding unwanted windows in the process, leaving the brick detail exposed like window arches and the cornice detail.  This isn't so common in real life but I have seen a few examples out there and I think it will look great.  I could just build the whole thing from scratch but for now I'll keep the kitbash option in the forefront.  I'm really happy with this idea, far more than the other possibilities for this plot.  Up next, Ensminger progress.