Slow Weathering and the Vital Few

In my last post, I introduced slow weathering, a deliberate and consistent approach to tackle complex weathering projects and achieve high-level results. However, in that discussion I failed to address the major (and obvious) issue with the approach: its slow! Compared to other weathering approaches, except procrastination or avoidance, slow weathering is not very productive. And so, for modeler’s seeking to weather an entire fleet of rolling stock and locomotives and achieve high-level results, the question becomes how should slow weathering be applied?

My solution to this problem draws from the Pareto Principle, or “law of the vital few.” The principle states that in many instances 80% of an outcome can be attributed to just 20% of the causes. Or, stated more broadly, most of an outcome can be attributed to a few “vital” contributors. Applying the principle to model railroading, it follows that just around 20% of weathered models will contribute to 80% of the visual perception of a highly detailed and realistically weathered fleet.

It may seem that applying the Pareto Principle to model railroading is a stretch. The principle describes an economic theory, and it is not clear if it applies to art and visual perception. Regardless of an imperfect fit, the principle contains the important lesson of project selection and prioritization: Allow a few "showcase" models do the heavy lifting for the desired result of the whole.  

Let’s consider a case study:

A typical train on my layout consists of 20 cars and two locomotives. Setting a discussion of locomotives aside for now, under the Pareto Principle, only 20% of the cars (4) will contribute to a vast majority of an operator’s perception of a realistically weathered and detailed train.

This means, that when I sit down at the bench to weather a train of cars, I can focus on devoting special attention and adopt a slow weathering approach to a small number of cars in the train to achieve most of the desired visual outcome. The remaining cars in the train, the other 16, can be weathered with a more efficient “fleet” weathering approach. Granted, these cars still contribute to the overall outcome and so it is important that they are weathered skillfully and adequately support the vital few heavy lifters.

Locomotives, as I alluded above, are a special case. On model railroads, locomotives tend to have a greater impact on the perception of the overall quality of the fleet than other equipment. Therefore, I consider any locomotive to be part of the vital few and adopt a slow weathering approach when weathering and detailing locomotive projects.  

So, if you find yourself stuck at the bench slowly weathering your fleet of rolling stock or endlessly constructing structures for your town or city, consider applying the Pareto Principle and allow a vital few models to do the heavy lifting.

Slow Weathering

Earlier this month I completed the weathering on UP 1213, an Athearn Genesis GP39-2. The project was complex both in its scope and execution. The prototype has a very distinct appearance which reflects its decades of service on the UP. Replicating this appearance presented a significant challenge especially replicating the uniquely faded paint and lettering and grimy appearance. I knew before starting that my tried-and-true methods would only get me so far, and that to succeed in replicating the prototype I would have to try new methods and adopt a different approach. Thus, slow weathering was born.

Slow weathering is not simply “taking one’s time” or “being careful” or “working slowly.” Rather, slow weathering is the consistent and deliberate application of effort to a weathering project free from the pressures of time and efficiency. It is a craftsman’s approach that prioritizes patient deliberation over efficient production. It allows for contemplation, reflection, and adaptation through the life of the project. Slow weathering enables the development of skills and confidence. And, most importantly, it renders exceedingly complex projects more manageable and ensures better results.

Slow weathering works well for two main reasons. First, it removes the undue pressures of time and efficiency and, secondly, it allows for exceedingly complex projects to be tackled manageably.

Whether we recognize it or not, once a new project begins, we set an internal clock that starts ticking down to when we think the project should be completed. Invariably, as the internal deadline approaches, a strong temptation to take shortcuts or expedite certain processes builds. The results can be subpar. Slow weathering seeks to combat this approach by intentionally removing any emphasis on time or efficiency and instead place that emphasis on the process and steps of the weathering itself. In slow weathering a project is done when its done, not when we think it should be.

Secondly, slow weathering allows complex projects to be more manageable. As I explain in more detail below, this approach breaks projects down into approachable chunks allowing for greater focus and higher quality work over the entirety of the project.

1213 Case Study: Three principles to Slow Weathering

Research, plan, and work intentionally

Slow weathering projects require adequate reference and a plan of attack. Both are necessities of working deliberately and consistently over a long period of time. A plan helps define what needs to be done on the project in any given session and reference guides that work. Certainly, weathering can be done without a plan or reference, but without a goal and articulated process, it can be easy to skip steps, take shortcuts, and rush when the project starts to get stale.

For 1213, I collected a set of reference photos available online and after careful study of the reference, drafted a workflow plan for the project. Whenever I felt lost or unsure on what to do next or exactly what colors to use, I had guidance readily available and could quickly refocus. Additionally, when I sat down to the workbench, my plan helped me be focused in what I wanted to achieve in that given session. There is a big difference in “fading the long hood” and “fading the three leftmost panels on the long hood.” Both tasks ultimately achieve the same ends, but the latter is much more intentional and focused. This micro-level of focus is beneath the success of the slow weathering approach.

Chunk the model

Slow weathering is best when applied to overwhelmingly complex projects with high levels of detail. Trying to hand paint a graffiti covered boxcar, or, in the case of 1213, hand painting the faded numbers is a daunting and easily overwhelming task. Detailed weathering takes mental endurance, and it is often unreasonable to try an accomplish a certain step on an entire model or even just one side of the model in one sitting. In slow weathering, the answer is to focus on individual chunks, or small sections, at a time.

For example, I faded the lettering on 1213 by painting over the factory applied decals with acrylic paints. This was a time-consuming process and one I frankly wasn’t looking forward to! My solution was to only work on one letter at a time and maybe only 2 or 3 in a single sitting. In dividing the work, I found I was able to focus effectively on each letter individually and not become overwhelmed by the seemingly insurmountable prospect of painting all the letters on both sides of the model. Before I knew it, all the letters were faded.

Work consistently

Finally, slow weathering requires consistency. Because complex projects tend to require work that is extended over multiple months (or longer!), engaging with a project consistency helps maintain interest. I recommend building time into the daily routine for the project. A marathon workbench session or “binge” weathering can be an exciting prospect and fun way to spend a weekend, but it is not an effective means to tackle complex weathering projects or consistently work at a high level. Rather, the slow weathering approach encourages a consistent effort applied in shorter daily sessions (between 30 minutes and 2 hours). Limiting the length of the sessions will prevent fatigue and keep the scope of the project manageable. Working daily will help maintain interest with the project and prevent inconsistencies in color or technique that can arise when a project is left fallow for long period of time.

In weathering 1213, I set aside 30 minutes at the end of my day after dinner to work on the model. After a few weeks, sitting down at the workbench once the dishes had been put away became a habit that I didn’t have to thing too hard about. I rarely had to refer to my workflow plan to remember where I was because I maintained consistent engagement with the project. I remembered what I had worked on the night before and simply picked up where I left off.

 

Slow weathering is by no means a perfect or the only approach for weathering, but I have found success employing it. The projects that I engage with consistently and deliberately without feeling crunched for time or pressured to finish quickly are often those projects that I enjoy working on the most and am ultimately most proud of. I have done my best work adopting a slow weathering approach and will continue to utilize it into the future.  

Escaping the Shallows of Social Media

In January 2015, I published the first post on this blog commencing the Cascade Sub's public life. Since then, I have continued to post here (albeit increasingly sporadically) and have expanded my sharing to other outlets, namely Facebook and YouTube. In recent years especially, I have grown a modest following on both platforms (1.2k subscribers on YouTube and 1.1k followers on Facebook) and posted a significant number of photos and video documenting the life of the Cascade Sub. However, despite my consistent and growing use of those sites, today marks a committed return to the original blog, a turning back of the clock and a departure from “the shallows.”

           I will readily acknowledge that social media has, in theory, some incredible benefits. At no other time in history has information and individuals been so accessible. Social media has enabled the growth of many personal and group networks, hobbies like model railroading included. It is not that far-fetched to argue that hobby-related social media engagement has been a major driver in the “growth” of the hobby since the start of the COVID-19 pandemic in the spring of 2020. Certainly, my engagement with the hobby via social media has increased since then, significantly expanding my network of fellow model railroaders and their work. However, a critical question has become apparent in recent months: does increased engagement also lead to increased enjoyment of the hobby and personal fulfillment? The answer, unfortunately, is no.

I attribute my lack of enjoyment and fulfillment to two main issues with increased hobby-related social media use. First, the amount of time to sift through and consume the mountainous haystack of hobby-related information and content greatly outweighs the benefit of finding the rare insightful needle. Simply put, increased online engagement and content consumption means decreased time actually participating in the hobby. New tips and sources of inspiration are extremely valuable, and I welcome them, but when the search for them inhibits time at the workbench and I am not engaging in the actions of the hobby itself, my skills are declining alongside my satisfaction. Completing a weathering project or participating in an operating session are ultimately much more satisfying than watching someone on YouTube do the same.

Secondly, social media is not a replacement for real-world interaction and communication. Sure, I acknowledge the benefit of the ease of connection that the big platforms enable. However, access to information and the ability to connect with strangers through an online platform does not necessarily correlate with the effective sharing of ideas or forming meaningful relationships. It is possible, but usually not the norm.

For example, on Facebook, I have gotten into the habit of informally posting progress photos of current projects. The platform makes this process incredibly convenient and in a matter of minutes I can share essentially “live” progress with hundreds of people across the country and world.  Initially, interest in the newly posted photos is strong, however engagement quickly wanes after the first 24 hours of posting. Ultimately, the photos are lost in the previously mentioned haystack of online content, likely never to be seen again. Engagement on YouTube is similar with most of the views, comments, and likes occurring in the first hours in the life of the video. Simply put, posting on these platforms feeds the quick and constant consumption model inherent to their use.

More importantly, my use and engagement with these sites has developed into an unhealthy and dissatisfying habit. After posting photos to Facebook or a new video to YouTube, I compulsively monitor the public response, tracking the views, reading comments, and counting likes. I crave the immediate affirmation of my work and focus intently (consciously or not) on viewership and engagement analytics. Rather quickly, as described above, engagement in a post or video wanes, and the “high” of watching the public response subsides. And so, to feed this craving, I must post again, and again, repeating the cycle with increasingly hasty, non-curated content. Ultimately the high of receiving immediate gratification became the primary motivation for posting and ultimately progress, leading to a shallow experience of the hobby and burnout (a little dramatic, I know!).

    So, it is time for a change. I am very motivated to share my work and contribute to the model railroad community in a meaningful way, but I desperately need to drop my use of the major social media platforms to achieve this purpose. Hence my return to blogging.  

Starting today, my plan is to publish well-written, thoughtful blog posts each week on Friday afternoons. In these posts I will cover a variety of topics related to the hobby generally and also concentrate on specific projects I am working on. Through this I hope to not only share my techniques and methods, but also my sources of inspiration and guiding goals.  Ultimately, I am seeking to add some depth to the public life of the Cascade Sub, break free from the shallow sharing cycle, and find genuine fulfillment in my engagement with model railroading. I hope you come along for the ride!

See you here again next Friday. Until then, happy modeling.

Train Camp and the Operating Session

 Constructing a model railroad is an enjoyable pasttime (obviously!), but sharing that venture with close friends elevates the experience to another level. At their best, model railroads form the foundations for community, whether a large operating layout that brings together a group of operators monthly, or a small shelf diorama that serves as a talking point when company is over. In short, trains (even the little ones) are best experienced in the company of others. 

After many years of building my railroad solo, my network of model railroaders has grown and the railroad has matured enough to host both operating sessions and work sessions. This winter, I hosted my good friend Cam Nealy for a few days to primarily work on the railroad during a time we affectionately dubbed "Train Camp." During the three days of Train Camp, Cam and I tackled some of the larger projects I had been holding off on, like fascia and lighting, and prepared the layout for one of its first formal operating sessions. Camp culminated with a day long formal operating session. 

Cam is a talented modeler and I trust in his ability to tackle a variety of projects with skill. For the work session, I prepared a list of potential projects for us to tackle and made sure that the appropriate materials and tools were on hand. Then we were off! During the session we finished the fascia, installed more LED layout lighting, finished the cardboard lattice in Fields (an area Cam had started during a previous visit), constructed multiple tunnel liners, and started adding cardboard lattice on the upper level. Sessions like this provide a massive boost to a layout's progress and often raise the motivation to continue to work for days or weeks past the session. Our final task was to clean and prepare the railroad for operating. This involved A LOT of turnout fine-tuning in the staging yards, track cleaning, paperwork preparation, and equipment maintenance. We worked late into the night on the Friday before the operating session so that in the morning we only needed to quickly vaccuum the room and power up the railroad! 

Mr. Nealy inside the helix tracing the openings on the fascia so we could cut it to size.

Cam brought a lot of his equipment (80+ railcars!) to help fill out the operating roster. Here he is unloading and unboxing his crude oil unit train.

A full staging yard ready for operations!

Cam filing turnout points...

...and he kept filing...

The author (that's me!) working on the helix fascia.

Cardboard and hot glue, what mountains are made of!

...and then it was my turn to file points.

Operating Session

The Train Camp operating session was not the first operating session I have hosted on the railroad, but it was the first formal session with a full crew, lineup of trains, and dispatching. Matt Forcum (Metaline Falls Railroad) joined us Saturday morning to round out the crew. After finalizing a few consists, orienting Matt to the railroad, briefing everyone on how the session would run, and a quick bite of Chili for lunch, trains were rolling. 

In subsequent posts I plan to write more about my operating scheme and the process I went through to develop and refine it, but, in brief, the central operating feature of the railroad is manned helper operations. Loaded southboud freights need a little extra boost to get over Pengra Pass en route from Oregon to California so the prototype operates manned helpers between Oakridge, OR and the summit of the grade at Cascade Summit. My operating scheme captures a day on the Cascade Sub focused on the work of the helper crew pushing trains south over "The Hill."

Cam ran the helpers for a majority of the session with Matt taking various road jobs. At the start, I floated between running road trains, answering questions, dispatching, and railfanning. The layout ran flawlessly and as we established a rhythm, the scheme and pace of the operations provided a very immersive experience. Once things settled down, I moved to dispatching full time. 

Eventually the railroad will be signaled and use CTC control, however all territory is still dark, so we emplyed track warrants to grant authority and control train movement over the railroad. Track Warrant Control (TWC) slows the pace of a session down tremendously and the radio chatter provides for a realistic ambiance that adds to the immersive experience. Both Cam and Matt performed well and enjoyed the session greatly (or so I was told!). 

After 4 hours and 7-8 trains, we called it quits. Despite the fact this was indeed the first formal session, it felt like one of many before. There were no major hiccups and the scheme worked nearly flawlessly. I credit this to a lot of help from Cam prior to the session in preparing the layout, high quality and skilled operators, and a thoughtful, well-developed operating scheme that worked with the characteristics of the layout. I look forward to future sessions and continuing to add to the operating history of the Cascade Sub!

Oakridge staged for the operating session. 

Amtrak 14 glides through Wicopee on its way north to Portland. 

The dispatchers desk with train sheet, track warrants, and detection panel.

The helpers on the rear of a southbound manifest at Fields waiting for Amtrak 11 to pass. 

Engineer Matt bringing his train up to speed after letting Amtrak 11 pass (seen above in Klamath Falls staging).

Helper engineer Cam adding some throttle. 

The helpers continue south through newly constructed scenery on the upper level. 

A full Klamath Falls staging. Each staging yard is one directional with a reversing loop. 

The headlight of the helpers can be seen through the bore of tunnel 15 as the units push on the rear of a loaded BNSF grain train.

Engineer Matt guides the BNSF unit grain train through (future) Tunnel 4 and towards Cascade Summit near the end of the session.

Winter 2022 Layout Construction Update

This January I was back in the layout room and had the opportunity to make progress on a few different fronts inlcuding fascia, terrain forming, lighting, and scenery. 

The largest project I tackled was completing the fascia. Like painting backdrops, installing and painting fascia dramatically improves the visual appearance of a railroad and the room itself. Fascia defines the edges of the model world, completes the backdrop, and, in the case of a multi-deck layout like mine, frames the scene.  The room not had a vastly more finished look and the individual scenic vignettes across the layout are framed and ready for further stages of construction. 

Above: New fascia and carboard lattice terrain on mid and upper levels; ballasting underway in Oakridge.

In addition to fascia, my good friend, Cam N., joined me again for a few days (see upcoming post on Train Camp and the Operating Session) to work on a few projects. During his visit we completed the cardboard lattive terrain on the "middle" deck (Fields) and began terrain forming onto the upper deck. He also constructed a few tunnel liners and developed a very simple method using pink foam insulation. Much better than my cardboard and cardstock creations! I will adopt this method in the future. 

Above: Fascia complete around the helix; cardboard lattice terrain complete in Fields (mid-level on the left).

Above: Fascia complete at the layout entrance; from bottom to top: Eugene staging lead, "the slide" between Wicopee and Fields, and Cascade Summit and Odell Lake.

I also made a big push to exhaust my stock of scenery supplies. There is something satisfying about using up a material or product that has sat under layout for months or years. This push resulted in new vegetation around the south portal of Tunnel 22 and further dirt layers in Oakridge yard. After a few evenings I ran out of ballast and a few colors of my favorite bushes by Martin Welberg but didn't come close to exhausting my supply of static grass. I completed this effort by making and installing a dozen or so pine trees above Tunnel 22. 

Above: New scenery (vegetation and trees) around the south portal of Tunnel 22.

My efforts in the yard at Oakridge focused on improving the dirt and ballast layers and starting to adgrassd . I found the most succes with ballasting and dirt by applying mutiple successive layers. I mainly used Scenic Express and Arizona Rock and Mineral products in varing colors and grain size to achieve varied color and texture. I plan to return once all the ballast is complete to weather the rails, ties, and ballast to tie everything together. I added static grass and weeds once sections of dirt and ballast had dried. I used Silflor static grass in varying colors and lengths as well as Martin Welberg weeds and tufts. Both brands and their respective products are available from Scenic Express. 

Above: Dirt, ballast, and grasses in Oakridge yard.

Above: Overview of scenery in Oakridge yard, new fascia, and new terrain on the middle deck after the January work session. 

I hope to be back at the layout a few times this summer and again in January 2023 to continue progress.

Weathering the Fleet: Fall/Winter 2021 Update

Throughout last fall and winter I have tackled numerous weathering projects as I continue toward my goal of having every locomotive and piece of rolling stock weathered. 

CP 8727

Talk about a project that has been hanging over me for a while! When I first started following Athearn's monthly project releases almost two years ago, these models caught my eye and became a "must have." CP grain and oil trains are commonly seen running over the Cascade Sub and so Athearn's newest run of CP ES44's were the perfect choice to continue building my roster. 

I recevied this model in the fall of 2020 and it finally hit the rails in the summer of 2021, serving dutifully before its appointment at the weatheirng shop. I started the process of fading and intial grime layers in August, but the project was put on hold as I relocated for the fall. Once my workbench was set back up, the serious weathering effort began again!

The model is weathered using my preferred method of acrylic washes. I did not use an airbrush, preferring the control and precision of brushes. To fade the model and add grime layers, I built up thinned washes of paint, drying each before applying the next with a hairdryer. 

One key to success with this method is a good covering of Dullcote. This allows the washes to grab and stay put on the model. I will often apply multiple coats to ensure that coverage is adequate before applying the washes. The second key is to work in small areas with very light washes. Admittedly this makes the weathing process much more time consuming, but it is time well spent. I end up spending less time wrestling with an unruly wash and make less mistakes! 

I used the acrylic wash technique to add grime as well. The main colors for this model were raw umber and a dirty gray-tan. The tan provided a nice dusty effect commonly seen on CP units. Detail work was done with some drybrushing effects and powders. Finally the model was sealed with another coat of Dullcote. Before being put into service again, I will replace the couplers with metal KD's, paint and clean the wheels, and ensure the decoder is programmed appropriately. Look for this unit to be hauling oil and grain up The Hill soon!

BKTY 150572

My original intent was to enter this model in Athearn's weatheirng contest last April, however I missed the deadline significantly. Regardless, this model was a challenging and engaging project.

I again started with my usual process of fading and grime layers with acrylic washes. I then used acrylic paint to apply rust detail. For depth and interest, I used both burnt sienna and burnt umber for the rusting effects. Rust streaking was done with burnt sienna oils and thinner. 

I tried a few new techniques on this model as well. First, I added hazes of rust and grime with oils. I applied small amounts of oil paint to the model and then feathered the paint with a dry brush to create a haze. I used this effect on the doors and under the roof sill. Additionally, I used graffiti decals instead of hand painting. I have mixed feelings, but pleased to add this effect into my toolbox for certain applications. It certainly was a lot less labor intensive and the result is not too bad. 

ABOX 52237

I have become a big fan of Athearn's Prime for Grime schemes and this ABOX car (and its twin, which I apparently neglected to photograph) were great starting points for two modern additions to the fleet. 

Breaking from my trend of acyclic washes, I faded these models and applied intial grime layers with the airbrush. Next, I used burnt umber oil paint to apply grime along all the seams and panel lines. I essentially "scrubbed" the paint into the seams and crevices of the model and cleaned the excess of with thinner. This technique is a very easy way to add depth. The door was weathered similarly and received a layer of drybrushing. Rust and graffit was hand painted with acryclics. 

Really pleased with how these models turned out!

ARMN 

A modern layout is not complete without some reefers rolling around the rails and the Cascade Sub is no exception! Weathering on this Atlas model was very simple and fast. First, I applied graffiti using decals on both sides of the model. Next, I sealed the entire model with a few coats of Dullcote and applied a burnt umber wash to add a hint of grime and knock down the stark white look. Finally, I added some rust streaking effects along the door track with oils and thinner. In a matter of hours this car was ready for service.

DGRW

Like white reefers, modern layouts need a good supply of plain gray covered hoppers. These filler cars are in no way the star of the show, but go a long way to making a manifest train look complete. To weather this model, I mainly used the airbrush and oils. Fading and initial grime layers were done with the airbrush. I then applied a black-brown oul pin wash to exentuate the details. Finally, I applied subtle streaking effects with oils and thinner. A few small graffiti tags were hand painted.

My big push to weather the entire fleet continues into 2022 with a special focus on centerbeams, woodchip cars and locomotives. These models are essential elements to include on my cast of characters for the Cascade Sub. Stay tuned!