Flat Figures by Brian Kammerer

Many, many months ago, I needed to scenic the area that increased in size as a result of opening up the aisle just south of Kennesaw Mtn. This area is at the top left corner between Kennesaw and where "Mill" is noted. The entire table of the Atlanta area is now parallel with the back wall and allows for a pleasurable 3' aisle.

I now had 3' feet of new real estate to scenic which I found artistically challenging and was a good thing. I had several ideas including a small farm, dirt road, double post and rail fencing. Mock up  structures were placed in the area. However, it all felt too busy.  Trains would be passing the Redoubt which has perspectives then a farm then mountain... So I just sat and pondered gazing into the bare benchtop. I would come back over a period of about 4-5 months. Interesting how the idea finally lands. I decided that I would create a deep perspective with distance. The backdrop / ridge line is foam core with a couple of layers of flocking. I would  need to show a 1000 yard or more distance from the ridge line to a full size (HO) foreground. 

This photo below shows the first steps to bridging the distance. At the base of the ridge line is a dark tree line. The intent is to show a tree line closer to the viewer and enhance the perspective experience. There are two figures in the middle ground. This is what I call "concept measuring" to ascertain plausibility for the entire scene. The cluster of trees is meant to be a view-through element. Once painted and flocked, I want the viewer to peer through the trees to help distribute the perspective as they see the scouts. The stream, and of course the house car, are the foreground. The fun of creating this scenic element is assessing what to place between the stream and the ridge line to foster the sense of distance.

Close up of the above photo...

Even closer image below. The figure is another Brian Kammerer creation. His film "The Other Great Locomotive Chase" is populated with a plethora of flats. When I mentioned to him what I was doing he suggested flats. I had hoped he would. He graciously created a few sheets of infantry, cavalry and artillery figures. Everyone who has viewed this scene could not tell the scouts were flat.

One of the figure sheets Brain created is below. All I did was reduce the size then print a sheet. After cutting the figures I wanted, and adding a thin sheet of cardboard backing for rigidity, I simply glued a straight pin to the back. The bench is blue insulation foam, making installment of the figures very easy.  

I am getting ahead of my process.

While still in the imagination phase, and driving around on different days, one day as I was passing a field. I saw exactly what I was wanting to build. In the middle distance from the road there was a cluster of trees. The added component missing in my scene was the vegetation among these trees. Small, wild growing shrubs, bushes and some vines. Here is the nearly final touch, close up...

A more distant view...

I want to add more underbrush among the trees and in the open field. However, for the most part, I am quite satisfied with the results.

Operations Session

February 21 the W&A hosted its first official ops session! Long time coming it has been. We were honored to have six friends partner up in crews of two, one engineer with a brakeman. 7:00 PM crew members arrived to orient themselves to their schedules and plan their ways of working. 7:30 the clock started and everyone was completed by 9:15. Of course there were many breakdowns that were communicated to the superintendent, providing LOTS of maintenance work orders. But this is to be expected, although he (I) was more disappointed than expected. Bottom line is that it appeared all had a fabulous time.  
Engineers were responsible for operating the locos. Brakemen had responsibilities for coupling, re-railing cars when necessary and ensuring switches were set accurately. 
The schedules were challenging in that the timing of arrivals caused negotiations in order to ensure that their respective time tables were successfully met. 
The image below, with a Yankee who somehow infiltrated as a brakeman, shows Paul with Jimmy at the throttle. Shortly after this shot, another consist came barreling through with DC at the throttle causing one of those "challenging" situations. However, when considering this is 1863, trains were constantly running at all times in order to meet both military and civilian demands. Hence, this was quite prototypical. However, schedule adjustments will be made for the next session.

This next photo has brakeman Christopher questioning engineer Martin's instructions on how best to build their consist in Chattanooga. Martin is a veteran engineer and Christopher... well, this was his first time in this role. He had a steep learning curve, and did quite well.

Below, my good friend from high school and college, Dave Eberhardt, is on his maiden run as a first time brakeman with DC at the throttle. Dave had a layout in the '70's, my first experience helping to build structures and learn a few basics. Here they are building their consist in Atlanta. 

This one below is the opening of the session, two crews setting up their respective runs.

Prior to this evening, one of our favorite modelers and friends, Brian Kammerer visited. It had been quite some time since his last appearance. He did not like a bird I had set into the backdrop because of the shadow. So in his nature for clean imaging, we were able to get him to add a small flock of crows to the backdrop, the latter which he had painted in the early days of layout construction. So good it was to have his rare visit to the W&A. Here is a link to his art work http://www.cwbattlemapart.com 

DC arrived early to complete his scratch build of a prototype fire house in Chattanooga. "Look what I did!" And it is ridiculously exquisite! 

Shorty after, he wanted to see the cars he had built for his own future layout run on our W&A. All was well until he begin to uncouple. He pulled the pins, however, the links were a bit tight in the coupler pockets. As he pulled one car off it pulled the next... HO dominoes resulted! Although there were a couple of casualties, they were easily repaired. Lesson-do NOT uncouple on elevations!

This ops event was a much welcomed achievement given we've been at this since 2003! Using the hindsight factor, I would have ... but hindsight also says there is only so much planning; best is to get into it and be open to learn, adjust and have great friends to share the joy along the way.

Crew Shots

A view into the past of the different contributors to the layout..., about 2005 or 2006.
Below, Brian Kammerer, Rhett Tyler, yours truly and D.C. Cebula.

Here's D.C. from about 2005 or 2006 lining up the backdrop frame behind Big Shanty. D.C. has done almost every aspect of construction. Next, I hope, he will take on my least favorite area... ELECTRICAL!

Brian, circa 2007, painting one of the three panel backdrops to Atlanta.

The crew who have made this layout what it is today. Each person is a master in their own craft, humbly speaking of course.

Myself, Brian from Connecticut, LeBron Matthews from Georgia, D.C. from Delaware and Christopher Eldridge from the Philadelphia area who built three iconic structures, the blockhouse, Lee and Gordon's Mills and the Barnsely Mansion and gardens.

INTERVIEW WITH BRIAN KAMMERER

Brian has been a part of this railroad scene since 2003 when he along with DC Cebula and Chris Brannigan came to visit at my home. It was our second time together, the first being Timonium - a neutral location that seemed most reasonable to all especially since we had a relationship only through emails. We of course hit it off and Brian offered to began painting the backdrop. His first foray was painting a 35'x3' canvas. Ever since then he has visited many times and continues to add backdrop scenes as the railroad evolves. April 29, 2013 I captured a few stories on how he began his interest in modeling the American Civil War. Hope you enjoy our interaction.

BACKDROPS by BRIAN

BACKDROPS by BRIAN

Brian has been with us since the beginning, 2003. And fortunately he lives reasonably close in CT. Hence, the bulk of the backdrop painting Brian has completed including Lookout Mountain. Approximate total length is 60'. With His latest visit earlier this month he added some details with figures, plowed fields, clouds and touched up the Oostanaula River. Too bluish, given my brownish 3D version, his blend is none other than perfect. Have a look...
He is blending the painted rock into the bench, highlighting the edges. This is the north end of Rocky Face, a dominate feature west of Dalton. Heavily fortified at the time of Sherman's campaign to Atlanta, unfortunately for Joe Johnston's Army of TN Sherman chose to out flank his Confederate opponent and avoid a head on charge against a fortified enemy, lessons first learned during the battle of Fredricksburg.
 

As Brian adds clouds, I am taking a few lessons on the art of cloud creation. Prior to Brian I have painted all the clouds which, as humble as I can sound, came out pretty good. They show up better in photos however, as seen in the September 2009 issue of Railroad Model Craftsman. Brian's look great in person or photographed.
 

The tent far left and third from left has the back half painted onto the backdrop.

As Brian mentioned throughout his visit, it's all play now for him since the panoramas were quite tedious and although he very much enjoyed the visits, it required a lot coverage. Now it looks like he may even want to scratch build some scenes.

DALTON'S EVOLUTION

Dalton GA was on the north end of the Western & Atlantic RR, just south of Tunnel Hill. By August of 1863 it had become a bustling city due to the defenses being constructed along the W&A to protect this critical supply line for the Army of Tennessee. The following 'movie' of slides gives you an idea of the development, start to near completion, of this section of the layout. It began in November 2003 as tabletops with basic track plan.Also posted is an interview of Brian Kammerer as he is painting the backdrop section along this area. Friends who have had contributed to this section include DC Cebula, Chris Comport, Andy Salcius, Jimmy Judge and of course, Brian Kammerer.

Brian Does Dalton

May 29 weekend the W&A had a fabulous visit from DC Cebula, Christopher Eldridge and Brian Kammerrer. In this upper view, Brian Kammerrer is sketching a backdrop for the town of Dalton.

He is working on a left over piece of canvas from a prior backdrop.

There have been no pictures of Dalton that I could uncover, even after a visit to the town, local libraries and a couple of local "historians". One source indicated that Dalton was a very up and coming town. A high looking set of structures would have taken a few visits for Brian to complete. We decided to go with a viable version of what was plausible to give the town a larger feel but not fully developed so I pulled photos on Chattanooga and other locations for references. 

Here Brian is beginning to paint in his sketches and bring life to black lined drawings. The third view below is the canvas taped to the backdrop. Along the entire area Brian also connected the ridges from the point of the peninsula, Rocky Face, to the other end where he painted Lookout Mountain.

Dalton's Role

Half way down the line on the W&A between Atlanta and Chattanooga, Dalton was a key location General Joe Johnston chose for the Confederate Army of Tennessee to defend in 1863. It was a small to medium size yard with a Car shed in a similar fashion to Atlanta. There was also a turntable on the north end but in my research to date, no engine house. Most of the information gathered on Dalton was from Craig Angle's book, The Great Locomotive Chase. If you are looking for a thorough journey into the entire story of the chase, not only has Craig researched the Chase but the players and the aftermath. About one half to two thirds of the content is told from the participants of that April 12 day in 1862.

An Atlanta Backdrop Panel

Brian painting one of the three Atlanta backdrop panels.

 This video shows Brian working on the southernmost panel which transitions from the city into 'suburbs'. The top photo is Brian working the second panel showing the Trout House and Masonic Meeting House. You'll notice he is attaching a balcony to give the painting a 2-dimensional look. This technique works especially well when photographing the scene.