Backdrop at Mason Park Bridge

[Gary S]

Decided to take a break from the bayou backdrop and start on this. I know I post alot of photos of my work, and I hope no one thinks I have a big ego! There are 4 reasons why I post what I am doing. 1. Big Blue has always been great about making suggestions and giving alternatives for me to consider. 2. Your encouragement certainly helps me maintain my focus and motivation. 3. Knowing you guys are looking elevates my modeling. 4. Whether it turns out good or bad, hopefully someone will get some ideas.

This is the backdrop for the Mason Park bridge. First, I made a pattern from paperthat fits along the layout/backdrop junction. Although this pattern was fairly easy, for complicated terrain, instead of trying to cut the pattern to fit exactly, just use short pieces of tape to follow the terrain.

   

From that, I cut out another paper pattern without all the tape on the front. Now, the area is pretty big, so I used Scotch tape on the back to hold the multiple pieces of paper together. Then I drew in the water and bank as to what I thought would look right. The height of the waterline increases as it moves to the right to give the illusion of it receding from us. The horizontal top of the bank also slopes up from left to right, but not as fast as the water does. The actual height dimension of the bank as measured from the drawn waterline is actually getting smaller as we move right, to give the feel that is is further away on that side. Now, very slight variations in these sloping lines make big differences in the illusion. This is why I think it is important to do the patterns, try various anglesand slopes, and get a feel for what is best.

   

Then drew in some trees, light green at top, dark gray-green at bottom, mixed greens in between.

   

Overall, the "feel" is good to me. I did notice that the left hand side at the 3D bank slope is not good. It just doesn't fit, as shown below:

   

Erased the pencil markings there and lifted the bank up a bit. When I start painting, the the higher angle slope will be a medium olive green to match the 3D grass, but the flattened out upper slope will be a lighter green. This looks better. Still, the bank could be raised up even higher. I'll have to give that a try later.

   

Now, added in 3D trees to check it out. Took photos from 3 angles, from about 10" above the layout, which is the eye level of an average height person.

   

   

   

The perspective looks okay to me from the various angles. The high layout height helps, but I think the real advantage is that the waterway curves to the right. This allows the waterline to stay low on the backdrop and eases the problems of perspective.
The one thing that stands out to me is the "sameness" of all the trees. Pretty boring! Here are some photos of the real bridge.

   

What is apparent to me is the variation in height of the trees. I'll have to change that on the drawing, should help break up the "sameness".

The following photos show some houses among the trees, so I'll give that a try too.

   

   

to be continued...

[Gary S]

I am also noticing that my 3D trees are very dark. May have to get some lighter green spray paint and mist them.

[Gary S]

Next try with taller and more varied trees on the left.

   

[MasonJar]

Gary,

I like the second one better. The trees in your proto-pics are not all uniform and evenly spaced as in your first sketch. Also, I don't think that the darkness of the 3D trees is bad - there are some quite dark ones in your photos.

The speed at which you acquire these skills is truly impressive!


Andrew

[Gary S]

Thanks Andrew. The 3D trees don't seem that dark in person, but they just photograph dark. Still, I am thinking a lighter green spray paint misted on from above the tree will provide more depth to them.

I've still got to give the houses a try. On the other backdrop painting, the bottoms of the distant houses and buildings were hidden by bushes, with only the upper parts showing. Hee, seems the lower parts of the houses are showing and the roof lines are hidden.

I'll also experiment a bit with different angles of the waterline and bank.

[P5se Camelback]

I think I'll wait ... and watch a bit longer before I comment ...

... wait ...

... I did just comment.

Seriously, progress is good, prior lessons learned are being implimented nicely, the potential is there to deal with the little bits I might mention so I will refrain from "picking" and just watch ... and let a faint smile grow on my face ...

... you've come a long way in a short time, Gary!

[Sumpter250]

I am also noticing that my 3D trees are very dark. May have to get some lighter green spray paint and mist them.

Looking at the first "real tree" photo, and the layout photo above it, your 3D trees aren't all that much too dark.
Your background trees could probably use darker, close to the foreground and fade to misted over. In the real trees there's a sharper distinction between the green, and the shaded/shadowed foliage, as the distance increases, the distinction blurs, and the overall color gets "lighter".
I really like the process you are using to create the backdrop scene.

[Gary S]

Thanks for the input, gentlemen. With such a long expanse of backdrop, the generic trees just aren't satisfying. I went back to Mason Park today and took better photos of what is behind the bridge. After spending an hour manipulating the photos into several sizes and printing them for experimentation purposes, here is what I have. There is a neighborhood in the trees, I think I will give this a go. It may be an utter failure. Perhaps it is too much detail for a backdrop? On the other hand, I won't be painting every detail in the scene, just trying to capture the overall feel. So perhaps this will work.

   

   

Have Sunday and Monday to work on this, time to dive in!

[P5se Camelback]

Start blocking in the treeline and shoreline at the left. Come as close as you can to matching the 3-D scenery as you can ...

Be bold.

Use saturated color ... then back off on the saturation as you work your way to the right, adding "atmosphere" and "distance" as you go.

I'm trying to not tell you what or how,
but I couldn't come up with a way to
say it without actually saying it.

If you don't like it, you can always paint it out and start again, but you will have learned things in the meantime!

[Gary S]

Hey, I don't mind if you tell me how to do these tings every now and then, instead of you just nudging me, pointing me in a direction, and letting me figure things out myself!

I've been practicing sketching the scene for now, which is making me study the scene in depth. I'm noticing the shadows and the light, and what it is that makes that look close, but that look distant. I'm getting a feel for the size of the houses and the individual trees. I've also come to the conclusion that the lower half of the painting is going to have to be done "oil paint style" instead of "water color style". By that, I mean the lower portions will have to be done with opaque full strength paint instead of diluted transparent paint. Hmmm... actually, it could use both styles. The first overall coats of green can go on transparent, but then all the tree trunks and leaves and houses and road will have to be opaque. After those things are on, will go back with transparent dark colors for shading, and opaque light colors for things reflecting the sun.

This is getting interesting!

[Gary S]

I made several patterns from the photos, the waterline, the upper bank, the houses, and the tree/sky junction. Then I used them to draw pencil lines on the backdrop. From there, I decided that working over the bridge without destroying it or my back or both would be near impossible, so I built a framework over it. Now I can stand on a stool and rest my fat belly on the framework, and paint in semi-comfort. Then I blocked in some colors, mostly on the too light side, because it is easier to darken than to lighten. Obviously still have a long long way to go on this.

   

   

   

[P5se Camelback]

Your process is fascinating and your progress is impressive. Your methods are inventive. The fuschia scaffolding made me chuckle ... It jumps right out at you - a positive color choice in that no one shoupl acidentally bump into it because they didn't see it! Just please ... remember to remove it carefully! But color its aside, it is an inventive way to address several problems that needed solving and one that gets the multiple jobs done.

I realize that because of the way your track plan has "evolved," doing the backdrop first (as is so often recommended by the "experts" in the model railroad hobby press) was not an option that was open to you, but to those who are following along, this is why those "experts" tell us that it is beneficial to do a backdrop early in a layout's build process, if you can. On the other hand, Gary proves here that if you don't put in it first, there are ways to accomplish a very effective backdrop after the layout is well underway.

I really like the use of paper patterns and "masks" ... they, along with the built-up photo mural as a handy reference, are proving to yield a representative image that will be instantly recognizable to your visitors who are local and know the location.

You are making great strides in developing a backdrop that will both support your modeled geography and help to root the viewer in "your neck of the woods." This is becoming one very impressive layout as it develops ... keep working towards your vision ... your individual successes in each scenic area will one day all blend together to recede into the background ... a visual reference to "the world beyond" the railroad that is the main focus, and will be the real center of attention when trains begin to roll.

I, for one, look forward to each new installment of the "Railroad Bridges of Houston!"

[faraway]

Gary, that is impressive. First I learned you are some kind of a construction worker and built a house. Next was a fine craftsman doing all the bench work and cabeling at a professional level. After that you showed the modeler doing outstanding reefer, bridges and (bank) buildings. Sine two days we learn you are an artist painting landscape on backdrop. That is an unusual wide spectrum of skills.

[Gary S]

biL, no doubt I wish I could have painted the backdrop without the shelves in the way. But as you mention, that would have taken some major planning ahead and knowing exactly what the layout would end up being. I doubt that 1 out of 50 layouts have that much planning done before construction of the benchwork. But it sure would have been nice to just pull up a stool to the wall, sit down, and paint in comfort instead of leaning over and reaching to the wall. :x So you are right, anyone planning a backdrop, if there is any way you can paint it first, it is the way to go.

In case anyone is wondering, those 2x4 studs sometimes come colored the fuschia that biL mentions. Don't know why they color them, but I just want everyone to know that I didn't paint them!

On the patterns, it seemed the logical way to get the major lines on the wall with the proper proportions. Using them does make me feel more like a "duplicator" and less like an "artist".

As always biL, I feed off of your enthusiasm and encouragement. Thanks!

[Gary S]

Reinhard, thank you for the wonderful comments, you made me feel good this morning. I must mention that even more important than skill is the "just do it" attitude that docWayne spoke of awhile back. We all have skills, or can develop them, we just need to jump in and get started. You are one of the people here at Big Blue that exhibits the "full speed ahead" attitude and it is always fun to follow along with your layout construction, because you get an amazing amount accomplished, because you try different things, Your work is fantastic, and you are not afraid of making mistakes. Mistakes can be corrected, and the mistakes are valuable as learning experiences and make us that much better the next time we try something.

Thanks again Sir!