SCULPTING MONTIETH ROCK—SECOND SECTION

Following up on my previous post on sculpting Montieth Rock (aka, “Rooster Rock”), I got fresh information thanks to that first blog post.  Clive Wright, a long-time railroad friend from Northern California, did a quick search for pictures of Montieth Rock and came up with ebay listings for a postcard that shows the geographic western face of the rock.  I followed the link and ordered one.  The postcard turned out to be published by the Southern Pacific.  This likely dated to a time shortly after the completion of the Natron Cutoff (Cascade Line) in the late 1920s.  This was a time when the SP was promoting the scenic wonders along its lines.  

 

The post card appears to be a colorized version of a black and white photo with the tell-tales of that process (colors a bit too “perfect”).  The photo appears to have been taken fairly soon after the line was placed in service as the forest has not regrown around the railroad clearing and grading work.  Later photos from the steam era (could be post World War II) show more vegetation in the area.  The photo is good enough to provide me with the missing view and led to slight revisions of my notional rock work with paperclay on that geo-west face.  Most notable is a bulge in the mid-section, suggestive of a rooster wing.  Using the photo as a guide, I applied more paperclay.

 

Geographic west face of my model of Montieth Rock with additional clay molding based on the postcard view shown in the foreground.

 

Also in response to my original blogpost concerning sculpting the rock face was a separate request for additional, tighter in, photos of my rock-work.  I am an absolute amateur sculptor, but the paperclay proved a good art medium for me to achieve the desired appearance.  Montieth Rock is a volcanic plug that has shed any surrounding material and weathered—rounded or smoothed further.  One happy accident was the way the paperclay cracked as it dried and set. Many of those cracks usefully represented similar cracks I observe in photos.  I filled most of the horizontal cracks, but left the vertical cracks which are seen in photos of the rock.

 

Close photo of the revised geo-west face of Montieth Rock.  The bulges in the center of the photo were added to existing vertical ridges to expand the rock on this face.  The happy accident of cracks in the clay molding are evident.

 

Close photo of the geo-SE face of Montieth Rock.  All of the rock features protruding from the base rock are seen in photos of the rock.

 

I added a protective covering of polyethethelyne to serve as a water barrier per the paperclay instructions.  I experimented with a back wash on the rock-work, but that flowed very freely down the glossy vertical surfaces, not achieving a useful look, but useful as an experiment.  Instead, I reverted to my “Plan-A” by applying a coat of gray paint to rock work that I can then add artist colors to. 

SCULPTING MONTIETH ROCK

Montieth Rock is a volcanic plug rock formation in the canyon leading up from Oakridge to McCredie Springs.  Also known as “Rooster Rock,” this prominent rock formation has caught the eye of photographers of the Cascade Line from its initial construction.  The rock formation is just before Tunnel 21.  As I was building and developing my railroad model, I realized I had space to include this eye-catching rock just before the entrance to Tunnel 21, which helps conceal a tight turn around a wall corner.

 

I began the model process when I formed the base terrain of the railroad using building insulation foam and Sculptamold.  I shaped the rock base form with insulation foam, using layers of 2-inch foam which I subsequently covered with Sculptamold.  I mixed gray paint in with the Sculptamold so it appeared gray.  It sat that way for a half-dozen years.

 

Montieth Rock base form made from insulation foam slabs and Sculptamold.

 

My recent efforts laying down ground cover in this area naturally led to my continuation of forming my model of Montieth Rock.  While I considered sheathing the rock base form using plaster, I chose a clay product instead.  I used Creative Paperclay for the rock face sheathing.

This product works as clay while it remains moist.  It takes about three days for it to set/dry, whereupon it has a hard, almost ceramic consistency.  

 

While my initial use of the Paperclay was applied directly to the scenery base around the bridge abutments at Salmon Creek, I felt I needed to have a stronger bond to the base form of Sculptamold.  I applied white glue to the Sculptamold base.  I first used Aileen’s Tacky Glue, but eventually moved to simply painting on a thick white glue with a brush.  I have found various consistencies of white glue during my current scenery efforts.  I previously needed to thin this thick glue with water during ground cover application, but the thickness was a definite asset for the rock project with its extensive vertical surfaces.

 

Aileen’s Sticky Glue application to the rock base prior to applying the Paperclay surface.

 

I molded the new surface of Montieth Rock in applications over the course of several days.  This allowed me time to consider my progress and consult pictures.  Fortunately, I had a great photo of the geo-East face of the rock taken by friend David Lange that guided my efforts.  All photos I have seen of the rock have been taken of that face as it is next to Tunnel 21 and the ridge penetrated by that tunnel.  

 

Sculpting the East face of Montieth Rock.  David Lange’s photo is in the foreground.  The rock formation well earns its alternative name as it really does resemble a rooster!

 

One happy “accident” I discovered during my sheathing and sculpting process is that the Paperclay layer tended to break apart into platelets as it set, leaving cracks.  The vertical cracks are useful as similar cracks appear in David’s photo.  I filled the horizontal cracks with more Paperrclay.

 

I am now letting my sculpting efforts set thoroughly before I add coloring to the rock.  Per directions for the Paperclay, I will add a waterproof coating of varnish first.  Stay tuned….

COVERING THE GROUND

I continue to work on scenery, mostly one scene at a time.  The latest focus has been on the “Pryor” area between Oakridge and Tunnel 21, just before McCredie Springs.  Pryor is the name of the siding between Oakridge and McCredie Springs—a siding I chose not to model.  I dealt with one of the corners in this area, applying ground cover and then planting trees.  The current focus extends that corner scene in both directions—back toward Oakridge and up past Rooster Rock to Tunnel 21.  

 

I began the effort by applying my base “dirt” cover to the terrain base.  I used a blend of sanded grout colors for the “dirt.”  I applied a coating of white glue and then sifted the sanded grout onto that.  Initially I painted the full-strength glue on with a brush.  The current batch of white glue I have been using proved quite thick, so subsequent applications were thinned a bit (2:1, glue:water) which still provided the needed glue adhesion while also being easier to apply.  

 

First section of terrain with dirt applied.  Also note the advancing stretch of forest “jumble” at the edge of the three-dimensional terrain against the backdrop.

 

During this first step I also applied “forest jumble” to the joint between backdrop and three-dimensional terrain.  The “forest jumble” was composed of small cuttings from the “Green Branches” material I use for tree making.

 

After the initial dirt application set, I returned to the terrain applying Woodland Scenics fine ground foam in earth and earth blend shades.

 

 

Woodland Scenics fine ground foam applied.

 

After I worked up to and around Rooster Rock, I worked the other way from the previously scenicked corner around past Salmon Creek and into Oakridge.  I still need to complete the bridge and trestle on the Pope and Talbot mill spur that is in front of (aisle side) of the mainline, so the effort around Salmon Creek was only part of the future scene.  I also applied the basic “dirt” (sanded grout) to the Pope and Talbot mill area.  With this, I have at least basic ground cover for the stretch from Oakridge around to Tunnel 21.

 

Salmon Creek area with dirt and Woodland Scenics ground foam.

 

Completed stretch of ground cover leading up to Rooster Rock.

 

Note I still needed to remove the masking tape covering the track.  When I did so, I found I needed to chisel some of the tape at the edges as multiple white glue applications bound it into the terrain.  The residue is in areas that will be covered by ballast.

 

For now, I have another significant stretch of terrain with ground cover awaiting the future steps of ballast and trees.