The tunnel portal job continues, and I like how it's beginning to look even if it is a tedious thing to do. I'm using the technique described by Chris Pilton in Cottage Modelling for Pendon (Wild Swan), although instead of display board and watercolours I'm using Slater's embossed brick and acrylic paints. I suspect this is what is making it so tedious: watercolour tends to flow more easily on paper than does acrylic straight from the tube on plastic. At this stage of the game I don't want to change technique, but I may do a small sampler to see how a drop more water in the mix helps. Anyhow, the palette I'm using (slightly different to Chris Pilton's suggestion, because I couldn't get exact matches) is: Red Iron Oxide; Raw Sienna; Naphthol Red Light; Burnt Sienna; Raw Umber; and Cadmium Orange. The slightly random way I've attacked the painting is down to the fact that my patience and eyesight can't take much more than 30 minutes of this at any sitting. If I were to start at one place and work systematically across, then the joins would probably be obvious. Meanwhile, Steve has taken on the building of the turnouts, and the troubling 3-way version will be 2 consecutive 2-ways instead. Thank heavens for KBScale kits!
