Chapter 1: Prepare a Base
Chapter 2: Natural Greenery.
Chapter 3: Authentic Debris.
Chapter 4: Scenic Snow.
Chapter 5: Desert Landscape.
Chapter 6: Water Effects.

  1. Preparing a Base.

Mixing up a sufficient quantity to cover the entire area in one application, I spread the filler out evenly with a spatula, trimming off any overhang that may have built up on the balsa wall. Any accessories such as fences, trees or telegraph poles should be carefully inserted into the filler at this stage, thus creating the basic layout of the overall composition.

If the terrain intended to be portrayed is in any way soft or muddy, then track or wheel marks need to be replicated. To acheive this, I simply commandeer a set of my sons lego wheels, rolling them evenly from one corner of the base to the other.

Before leaving to dry overnight, I gingerly press into place the A.F.V. and accompanying figures. After leaving for a minute or two I carefully remove them, setting them safely to one side. The indentation marks need to be left clear of paint at the texturing stage, thus denoting the location points of the main features once the basework is complete.

  2. Natural Greenery.

When wishing to feature bushes, small trees or riverbank shrubbery etc. I find that a trip into the countryside is called for. Armed with a plastic container and a pocket knife, I scour stone walls and hedgerows for moss and small twigs which I find to be of a perfect scale for incorperating into dioramas.

Out of season elderberry bushes serve as an ideal source for 1/35th scale tree branches. I generally find that it requires approximately six to eight clippings to create an average size tree. Having chosen a suitable length of twig or root to serve as a trunk, I attach the branches at intervals around the upper surfaces using white glue as an adhesive. Once set. I airbrush the whole in a light brown acrylic before laying aside to dry.

Fine leaves I occasionally purchase from model railway accessory shops but usually, especially when wishing to create an autumn scene, I resort to tea leaves which I find to be a perfect in scale replica of late foliage. To attach the leaves to the branches I use photograph adhesive lightly sprayed over the surfaces after which I simply sprinkle the particles on top, not forgetting to lay down a carpet of leaves around the base of the tree trunk.

  3. Authentic Debris.

Constructing wrecked and bombed out buildings naturally calls for a great deal of rubble and general debris to be in evidence. Once again, I am a firm believer in utilising natural resources to produce a desired effect, always having on hand a container full of fine silt collected from drains and gutters. When this concoction is combined with crumbled brick particles and sprinkled thickly over small areas of wet dark brown paint, an authentic simulation of natural rubble is acheived.

Strips of balsa wood, broken hap-hazardly into a variety of lengths and treated to a thin wash of Raw Umber oils produces effective looking splintered timber whilst any scraps of etched brass left over from conversion kits, when twisted out of shape and sprayed up, also contribute perfectly to the overall imagery. Choice items from a scrap box ie. jerry cans, discarded ammo crates, oil drums and personal equipment delivers the final touch to a scenario.

  4. Scenic Snow.

Creating a snow covered diorama depends of course on how much of a snowfall one wishes to depict. If the fall is light, then a sprinkle of baking soda from a pepper cruet over the completed groundwork is all that is required. If the snow is laying heavy however, then nothing needs to be applied over the still moist filler of the base but copious amounts of baking soda to produce a stark white effect.

Where the track or wheel furrows of A.F.V.s are in evidence, a brownish, discolured appearence is necessary. This is achieved by blending into the baking soda traces of silt mixed with a small amount of finely sieved soil after which a gentle tapping down with the base of a finger completes the operation.

  5. Desert Landscape.

Sand covered terrain is undoubtedly the easiest form of scenery to depict. Don`t be fooled however into thinking that all that is necessary is to simply sprinkle a layer of fine sand over the entire base to complete the groundwork. Rocks of many shapes and sizes are strewn throughout a desert landscape. This consequently calls for large quantities of small stones to be featured together with sparse sprigs of shrubbery if a slightly more fertile area is to be portrayed.

To add visual interest, I frequently construct prominent outcrops of rock which succeed somewhat in detracting the eye from the main features of the diorama. The addition of signposts, oil drums and scattered sundry items of equipment delivers the final touch which breaths life into an otherwise barren scenario.

  6. Water Effects.

There are two methods by which I create water effects in dioramas. With rivers, I sculpt out the riverbed from the styrofoam covered base, affixing a wide variety of small stones and pebbles into a thin layer of filler. After painting, I simply pour over the whole a mixture available from most hobby stores entitled "Scenic Water".

When wishing to portray water of any great depth, I use powdered resin which after mixing, is poured into a sealed off area. Once thoroughly set, I prepare a blend of dark brown and medium green enamel paint together with a touch of cobalt blue oils. After the application of two thin coats, the entire area is treated to several layers of full gloss varnish which succeeds in creating an impression of depth.