Dunham Studios new Quechee Gorge Layout

If you'd like to see all of the photos I took on this first of 2 spraying sessions, take a look at Dunham Studios facebook. When I get a chance over the weekend, I'll post some of the photos here, but with 20 some pictures, it's a LONG process. You'll notice that Roy is wearing a mask and hat. Delia has on even stronger respiratory protection. The Froth-Pak chemicals require users to wear respirators and work in a well ventilated situation. We use all our building fans, roof fans, portable fans and open our doors and windows.

Barb

Better Safe than sorry

Here are some of the pictures I took of the foaming. Delia and Roy got a bit more than 2/3 of the way around before they ran out of foam. It was late in the day to break open another 2 canisters and finish the front where the trestle will be. So, since the material needs to be 75 degrees to start, it's sitting in the casting room with the heat at 70 and I'll turn it up to 75+ early Tuesday morning and turn the barn heat up too so the layout will also be warm...especially as we will have to open the vents, fans and windows once they get started. Delia started spraying at the left front and worked her way, heading left, around the mountain along the "back" and around the right end mountain, where she went as far as she could before running out of material. I'll photograph the rest on Tuesday.

Barb

Awesome

The left end, front and back, has been foamed. The right end, front and back, has been foamed. Next Delia foamed the trestle section completing the foaming process. The layout has to air out thoroughly before we go on to the next step which is to remove the protective layers (tunnel stuffing, plastic sheeting, etc.) and begin to carve. No one without protective gear was allowed into the main part of the barn during the spraying and no one can go in as it airs.

Barb

The trestle section is completely sprayed. The tunnels are still "stuffed" but note how some fairly shallow areas of terrain have been put in place.

Barb

Beginning to clear the track, open the tunnels and trim back overhangs.

Barb

I'm not going to be photographing the Gorge layout this week because we're headed for the TCA show at York, PA. Visit us there in the Orange Hall at EE (something), next to Angela Trotta Thomas, and say hello and tell me what you think of our Quechee Gorge thread.

Barb

I want to thank the many, many of the OGR Forum readers who stopped at our booth at York to say how very much they're enjoying my posts. It's so nice to meet you and I'm happy that you're enjoying these threads. Keep following!

Barb

With geological reference picture attached, Delia's started to carve the left end mountain.

Barb

Delia's back and forging ahead. She's rough-carving the mountains at the right and left ends and cutting the rock face at the tunnel portals. Note how she uses marker  on the foam to indicate where to carve. Meanwhile John has been installing the many signals which will go on this layout. We see him holding a signal and then using the clearance car to check it out for placement before attaching it. As usual we have a "feet-under-the-layout" shot. This is Tom who has been underneath doing wiring for track and signals. It just occurred to me that perhaps you'd be interested in seeing the tools we use for carving. Tomorrow, I'll round some up for a photograph.

Barb

As I promised, here are pictures of the tool assortment Delia uses to carve the scenery. There are knives and blades and metal combs and brushes and more. Each tool has a specific purpose. (Note: no hot wires or electric knives!) Anyhow, Delia's carving away using the collection of research photos as guides. As she finishes an area, she uses the air hose to clear away the cuttings. Roy is ageing the railroad ties and under the layout, Tom is continuing to do his wiring thing.

Barb

As Delia forges ahead with her carving, Roy is studying the Quechee Gorge research material (Delia already has) to find pictures of the Gorge walls so that as they emerge from their foam cover they are geologically correct. Remember all rock is not the same and when you're creating scenery on your layout you need to be aware of where in the country you're supposed to be and what the structure and composition of the terrain (not only the rock) is in that specific region.

Barb 

The Quechee Gorge client requested that all the inner rail lines be aged with 'rust' while the two outer lines remain silver (although all lines have had their ties 'aged'). So Roy's going ahead with the 'rusting.' Delia uses the curry comb (not a horse in sight!) to prepare areas of terrain for scenic application.  After they're 'combed' and air-blown clean they will be painted and trees, shrubs and grass will be 'planted.' The roughness of the combed surface is just the right preparation for planting (sort of like the real thing).

Barb

Delia's been carving, cutting, combing and brushing the individual layout mountain pieces which she took off the layout to work on. (Whoops, after I said, describing Delia's array of tools, no hot wires, no electric knives, here she is sawing away... my apologies.)You might have noticed some unexplained gaps or two pieces of blue foam back to back with a space between. Those spaces are there to accommodate the backdrop which fits into a slot between 'back' and 'front' layout scenes.

Keep in mind that certain pieces of scenery have to be removable to get through the client's door. They'll be permanently attached after the layout is set up. Here Roy and John (who's been working on the signal system) helped Delia put back those individual pieces she's been working on. Oh yes, and Roy took a picture of me doing something useful (other than taking photos) but decidedly non-artistic.

Barb .

Delia's base painting the rock surfaces with latex paint which, aside from showing color, is sealing the surface of the foam. After she base paints the rock (and general terrain) surface she'll go back over it with an airbrush and add shadows and highlights. Note how even with only base color she's matching the look of the rocks in the research photos. Mike Burke, President of the Upstate Model Railroaders club and does electronics and train work with us, is a retired geologist and said this afternoon that he's really impressed with how accurate Delia's rock work is both in carving and color.

Take a look at the two Quechee Gorge control panels that Fletcher has just finished. Good looking aren't they?.

Barb

There's a lot of scenery for Delia to base paint.She emphasizes that BASE paint means exactly that and reminds everyone that the base painting, although it gives an outsider the idea that it's finished, is just the beginning. There's airbrushing and scenic application to come. And then there will be Roy planting trees. But this first coat of paint gives the viewer a feel for how it will all come together. 

There are a lot of signals for the guys to wire and install. John's creating the wiring plan for the signals while Tom's really getting into wiring mode.

Barb

Clarke/Barb, let me know if you need any help sweeping floors up there.  That's something I know I could do pretty well without getting in the way!  

David

David, Floor Sweepers are welcome any old time!  But seriously, we're happy to have visitors to the shop.  Just give us a call to see if we're here.  I'm not here as much right now because my Broadway career has just come back to life with a new Harold Prince production of Leonard Bernstein's "Candide" for the New York City Opera.  I first designed Hal's "Candide" thirty-four years ago and it's been all over the country in many different versions, then Broadway and then, after the "Old NYCO" failed several years ago, only "Candide" and  one other production were saved, but sold off.  When the "New" New York City Opera was created last year they asked Hal to create a "new Candide" for production in January 2017.  And it is very much a new production, taking what was best (a lot) from the old, but giving it what might be called a "2017 Attitude".  Same music, same words--but you'll have to come see it to see the differences.  You might call them "tiny, but huge" at the same time.   In any case I'm busy right now traveling back and forth to the many Scene Shops creating the scenery for the new production.  Fortunately the shop doing most of the important Scenic Drops, like the ones you see below, is Adirondack Studios.  Adirondack was also the shop that built the original Citibank Station for Dunham Studios in 1987 (along with many other Opera productions for me).  And, if the project materializes, Adirondack may also be a part of a new Holiday Exhibit for New York City in 2017.

With Roy and Delia both on the job, the white (and blue) Dow foam has been covered with base paint. You'll notice that the backdrop was removed before they painted anywhere near where it sits and also that the slotted pieces into which the backdrop panel fits have again been removed. They've been painted separately.

Barb when Delia's ready to airbrush the scenery surface.

Delia's airbrushing shadows onto the mountain pieces which are off the layout so she can better handle them. Fletcher has used the CNC router to cut the control panel box pieces which he's putting together. The graphics, which I posted earlier, will be applied later.

Barb

More is happening. The large control panel box is ready for the switches and wiring...and the graphics which I showed you earlier. The signal bridge below is temporarily attached but is actually in place. The scenery is almost all, if not all, base painted. Keep watching!

Barb

Fletcher has finished printing and applying the backdrop graphics to the backdrop. Delia's finished most of the shadow darks over the base coat on the mountains and is putting in the lighter colors, leaving for last the drybrushed-on highlights. Up to now she's used paint brushes, the air-brush, sponges, rags and towels to apply (and lift off puddles of) paint.

You'll notice that John's been running trains to check for clearances and found a spot on the back of the left-side mountain that needed excavation. Better to find these as early in the process as possible and correct them.Mike is, as usual, on his back under the layout wiring track. Tom is still working on signals with an emphasis on the signal bridge. And off to the side, John's grandson Alex, who came to work with him today, is sorting and soldering wire.

Barb

Take a look at the layout with the backdrop in place. Looking good! The bridges have been measured but not yet put in place and remember THE TRESTLE? That's actually built and if you'll look back through the thread you'll see it in pieces. But that will wait to be installed while trees and scenic elements and buildings come along and go into place. The photo of the plywood square is an inside joke for our client who is building the Mill himself as a special personal project.

Barb

While we were in Philly for Thanksgiving with the family and Clarke had to go into New York for a presentation of his stage set model to the cast and photographers from the New York Times, the gang was busy at work on the Quechee Gorge Layout. Delia's gotten much of the finish painting done on the rocks and mountains, the bridges and walls and tunnel portals which Roy had cast earlier and base painted and installed or is installing as Delia is ready for them. It's interesting to see the research photo of the wooden retaining wall and note how it looks in 'real life.' And those 'rocks and boulders'? They're being sized. They're the real thing...only a bit smaller.

Barb

Fricking AWESOME!

Roy cast twigs for the logs for the log wall and track supports for the bridge at the right end. Real (cast) logs!  And real stones in the river. What fun. Delia's coated the roadway, and levels for buildings at the left end of the layout, with gray mastic and eliminated the seam in the three-arch stone wall. She's also installed, after painting it, the center between-the-rails section of the two-track tunnel portal at the left end.

Barb

Very impressive!!!

Clarke....I think your layout designs are terrific and this is by no means a criticism.  I live 15 minutes from Quechee Gorge and cross that bridge quite often.  I’m curious as to your reasoning in naming this the Quechee Gorge layout when it really isn’t prototypical?

Route 4 travels over the Gorge, which was once the old Woodstock to White River Junction RR line that was discontinued in the 1930’s. The bridge crossing the 162’ gorge is a single span structure which is quite a contrast to your layout.

Again, please don’t take this out of context, I’m just curious as to why you elected to give this the Quechee Gorge name when it bears very few similarities. 

That's some top notch work.  I like their shop too.  

In RE: "the'canes" question:

I must beg to differ with you about the matter of "how literally" we use the idea of concept.  First of all, we're dealing with O Gauge Hi Rail.  When you deal with O Gauge Hi Rail you are, by definition, dealing with unreality---there's that pesky third rail there, isn't there.  So to begin with, we are dealing with a "suspension of belief".  I put that phrase in quotes because it is one of the benchmark concepts of theatrical design philosophy.  You must, as a result, be willing to accept that everything you see after that, and it must  be believed as a matter of course.  So much for the theory.  The fact is that there is, in fact, only one bridge over the Queechee Gorge and that is, in fact, the former railroad bridge you cite.  So, why not build a Hi Rail Fantasy Layout around it, thereby giving the layout its own reality?  Suspend belief.  Have some fun while doing it.  I do believe that that's what we're supposed to be doing.  God only knows there's enough "real" reality out there to last ten lifetimes.  So, this can become, in my private world, in my private room, my reality.  Just for a few minutes.  Or longer.  I get to decide.  If you buy into that concept, then why not build six bridges or ten bridges over Queechee Gorge.   Maybe reality is actually at fault, not the other way around.  I must confess that Fletcher Conlon and I had a great deal of fun creating this design.  Also, admittedly, this design is the quintessential "ten pounds in a five pound bag".  And as for that Grist Mill and Waterwheel at the base of Queechee Gorge---well, why not?

Mr. Dunham, for the whole -0.02$ my opinion is worth, that is an excellent explanation.

When emulating the 1:1 world in anything but it's true setting, some suspension of belief is always required.  Of course for others to question the realism in a model RR world is questioning many times someone's art, or interpretation of the actual.  It then becomes their fantastical reality.  Whether a toy train layout or something running quasi-prototypical operations.  Even this layouts which seek prototypical operations in 2 rail O or other scales which push for the closest to 1:1 actual as possible, require suspension of belief as you put it (love that phrase BTW).

So why do others (not just here on this board, or this hobby) try to push their version of the fantastical world onto others?  That is the question I have.  Can we not appreciate the art as it is?  After all, if MRR layouts are not art, then what are they?  Even the fantastic layout by the master and gentleman George Selios is not reality.  It's a very artistic expression of an era long gone.

Mr. Dunham,

I can't tell you how much I have enjoyed your posts with pictures and seeing how you bring all of these layouts to life you definitely have a team of artists and it's fun to watch everything come together. I can't imagine what it would feel like having one of your layouts delivered. Thanks again for sharing.

Joe Gozzo

Since I go back and forth between the equally unreal worlds of the Theater and Model Trains, er, Model Railroads, with amazing frequency and, as in now, simultaneously, it is sometimes requisite to keep a firm grip on some kind of reality be it your own or the worlds'.  I especially enjoy this part of the hobby (the Hobby Part) when we get a chance to exchange views and ideas in a way that previously had not existed.  It's good for all of us.

Beautiful!   I really appreciate your sharing so much of the construction, your team's work is inspiring!

Mr. Dunham.....appreciate your reply and as initially stated, think your artwork/layouts are terrific.  Was just curious as to the naming of the layout, hope my question wasn’t taken in a negative light.  Keep up the great work.

John has been wiring the small and large control panels which he's proudly holding up for us to see. Look at the graphics on the panels. Beautiful, if I must say so myself. Fletcher is preparing the area where the Grist Mill will sit along with its sluceway which is in to the river over which we have a small trestle bridge. I'll show the supports, a side view and the track in place on the bridge.  Roy has painted the logs for the log wall supports and bridge over the river and installed the walls. You'll notice that he had to cut away some of the river for his installation. He'll fill in those cut-away areas with mastic and stones early next week. Oh. we also have trees! Boxes and boxes of them.

Barb

Fletcher has created something new for us, tunnel-liner graphics, taken from the design of the tunnel portals. And Delia's removed several mountain tops the better to plant grass and bushes and trees. Meanwhile the continuing wiring saga...Tom is wiring turnouts and Mike is wiring signals and more signals.

Barb

Clarke Dunham,

President

Dunham Studios, Inc.

Excellent job on the scenery. Could you point me in the right direction.

I'm trying to purchase some "O" Gauge Brass or Metal Ladders.

Have trouble founding them anywhere to purchase them ? 

Thanks, John My E-mail is kb2agpjohn@aol.com 

Fletcher is fitting cork to the track crossing. Roy. Roy has ballasted the whole of the main line tracks (the rest of the track is yet to be done) and is "rusting" some rails for the front of the layout. You'll notice that the mountain tops are back on and the backdrop, swathed in plastic, is again in place. John has finished wiring the large control panel. It's belly up and from this vantage point (which will be the reverse when it is viewed from the front) the left side controls the controllers and the right side controls the lights.

Barb