The Cardboard Coach in Three Acts.
by Colin Binnie
Overture
The method of coach building I am about to describe owes little to my efforts but has
been about for at least sixty years. The ideas are not new, the materials are old
fashioned but the results are curiously satisfying.
The level of skill required is not high though a degree of patience is required. The
materials are cheap and generally available. In fact an ideal beginners project. With
this in mind I propose to be even more pedantic than usual. If the more experienced
modeller finds this tedious I can but reply that he should not be reading this but
should have written it instead!
A coach is essentially an elegant wheeled box for carrying people, if it is not very
elegant and made of metal it is called a car. All the best coaches were more or less
elaborately panelled with a projecting beading covering the joints. It is this panelling/
beading that provides the major challenge to the modeller.
A reasonable facsimile of a panelled coach can be made by laminating the sides from
layers of card and treating the card with a hardening agent. That is all there is to it, but
a few notes might help
Act 1
Scene 1 Materials and tools
Card
Not surprisingly, the major material of the cardboard coach.
The best quality card is undoubtedly Bristol board, available at the art shop at
horrendous expense. But I am at heart a tight fisted skinflint so I like to use the
ordinary manila folders beloved of office staff everywhere, I have also had success
with the hard dark green card from which some filing cabinet pockets are made.
Donald Boreham, may his shade rest in peace, swore by the card covers of the Birth,
Marriage and Death Certificates which were the stock in trade of a Registrar. His
coaches were made on his office desk in the breaks between marrying Elizabeth
Taylor.
Hardening agent
Here I stick my neck out when I declare there is nothing so good, so perfect for our
purpose as shellac. I do not mean those miserable bottles of shellac varnish nor
bottles of french polish, button polish or knotting, with their added waxes and
plasticiser but good old fashioned flake shellac. It is getting rare but I can still buy it
at my local hardware shop at around 5GBP for a lifetime’s supply. It is prepared by
dissolving in methylated spirit in a small coffee or similar jar and it is worth making it
in three consistencies. Gooey, creamy like paint and runny like milk. I have used
Ronseal and other proprietary wood hardeners and also well thinned cellulose and
coffin varnish, but I shall use shellac in future.
To achieve that deep down protection and hardening the hardener must penetrate
deeply. The surface hardens off and the deep down solvent slowly, oh so slowly, rises
to the surface. If it is a solvent which can attack the subsequent paint job it may
damage it months later. I have a Festiniog curly roof bogie van, fully lined and
lettered which is developing a cracked surface that would do justice to an old master. I
have used Ronseal and coffin varnish for general outdoor use with success but I am
not prepared to risk a complex paint job again when I have shellac and know it works.
Sure sign that I'm old. No spirit of adventure.
Glues.
Ordinary white PVA. For some jobs it may be diluted slightly with water. Epoxy i.e.
Araldite, both rapid and the slow drying variety.
Wood
Any of the finer grained hardwoods will do. Obeche, ramin, lime, mahogany and
holly all work well. I only use balsa for two jobs i.e. Internal panelling and roof
support.
Tools
A couple of scalpels and spare blades. I like to use the short straight scalpel for
general work and the curved blade to cut into a corner.
A fine whetstone for keeping the blade sharp. I have a couple of those Rolls Razor
sets picked up for coppers at the car boot sale. They contain a very fine whetstone and
a leather strop built into the lids. We are not resharpening an old blade abandoned by
SWMBO after cutting floor tiles but merely keeping the blade in top condition. Sharp
blades mean clean cuts.
Pencil about 2H, wooden not collet or propelling. Some means other than the
scalpel for sharpening same and a bit of abrasive paper for keeping the lead pointed.
An engineers square. Through the years I have collected a number of these from a
tiny 1/2'' long blade upwards. For this job something in the three to six inch range
will be fine. A useful extra is a 12''square. Mine came from the local 'Pound Store'
and though low quality is perfectly adequate.
A steel rule. A useful modification is to stick a piece of electricians insulating tape
along the underside. This makes it less likely to slip when using it as a straight edge
when cutting.
There are a couple of special tools which we will discuss when the necessity arises.
Scene 2 - The Prototype
We have dealt with all the boring stuff so let us have a quick look at a typical coach to
refresh the image in our imaginations. Referring to my crude sketches (See Fig. 1)
there is a main frame with apertures for the doors. There is a longitudinal rail below
the windows and if height permits, another above them. To this frame is screwed the
panels and to keep the weather out of the joints a system of beading is applied over
them. The constructional requirements of a coach naturally have an effect on its
external appearance. The end of the coach has a substantial frame in its own right and
this naturally takes up more space than the flimsy compartment dividers. Thus the
beading/panelling at the end of a coach tends to be wider than that at the doors or
compartment divisions.
The window glass in the main frame is usually fixed. It is inserted into the main frame
from the inside up against the rear of the panelling or beading and secured into place
with an inner window frame screwed to the main coach framing.
Within the door it is usual to have a sliding window usually referred to as a droplight.
This is contained within its own sliding frame, which drops behind the door
panelling. The glass of the droplight is thus set slightly deeper into the coach than the
other windows. Hopefully, despite my efforts you now have a rough idea of the
construction of the prototype. Fig 2 attempts to portray the construction of typical
windows.
Scene 3 - The Model
We will attempt to model this in all its complex glory by laminating the side from thin
card The coach side will be laminated from at least six layers of card and looking at
my sketches they look far more complex than they actually are.
Fig 3 is an exploded view of the door area of a typical coach.
Layer 1 is the beading overlay with the external panelling scheme cut into it.
Layer 2 has an aperture which will form the front of the droplight frame, this is
therefore slightly smaller than the window aperture in layer 1. In the quarterlight
positions ( windows either side the door) the card is cut back, slightly larger than the
window aperture, to form a glazing pocket extending to the top of the side. This
enables glazing to be inserted after the side is completed and painted.
Layer 3 continues the quarter light pockets rearward and introduces the pocket for the
droplight glazing.
Layer 4 contains the quarter light inner frames and extends the pocket for the
droplight glazing.
Layer 5 has the droplight inner frame and the slightly larger recess of the quarter light
position.
Layer 6 brings the droplight aperture back to full size and repeats the quarter light
aperture of layer 5
Fig 4. is a similar scheme for a coach where droplights and quarter lights
are at the same level. You may puzzle this one out for yourself.
By now you should be totally confused but all the best plays do that. The overture just
fills in time while the audience settles and finds the potato crisps. Act One introduces
the characters and creates bewilderment. Act Two starts to unfold the plot and undo
the damage done by Act One. Act Three limps along explaining what has become
obvious. Any further Acts clear up the mess and the finale tries to show how clever
we all are.
Act 2
Scene 1. The Stack
Without further ado let us get on with construction and to do this we make a stack of
the card sheets that will be our coach side plus one extra sheet. The sheets should be
large enough to make both sides of the coach with at least a couple of inches to spare.
The sheets are glued together along one side and each layer except the bottom one is
folded back so that they open like the pages of a book. Each fold needs to be a little
farther forward than that of the layer above. Make sure they are well creased and fold
easily. Pencil the layer numbers in the corners of the sheets, top layer is layer 1. Fig 5
will show what I mean.
Mark out both sides of the coach on layer 1. The sides should be drawn as a pair;
bottom edge to bottom edge or top to top. I personally prefer to work top to top since
the delicate bits in the upper side are kept in the middle of the sheet.
Thus the coach side is seen upright in the lower position and its mirror image is
inverted above it. Marking out is simplified enormously since all the vertical
markings are drawn across both coach sides. It also ensures that the sides will be a
matching pair.
Most prototype coaches from a given company tend to have doors and quarterlights to
a standard pattern, so making door and window replacement easy.
We can take advantage of this by making a template (posh name for bit if card with
marks on !) of the horizontal dimensions of the door and quarterlight area with
reference to the door centreline. We merely mark the door centrelines on the coach
side and transfer the dimensions from the template. If a number of coaches is planned
it is worthwhile using the other side of the template for the vertical positions and
widths of the beadings. Now write the name and type of coach on the template and
when you have finished marking out put it away carefully for future use. I must have
dozens of templates stored in envelopes. I only wish I could find them!
Now shade the bits we are going to cut away to leave the top layer of the beading.
Check and check again. This is the point of likely error and beyond this point there is
no erasure. Hopefully Fig 6 will clarify my poor words.
Scene 2. Cutting Out.
A final check and we can start cutting out the beading. DO NOT cut the perimeter of
the sides from the surrounding sheet. We need the surrounding sheet to support the
work. Cut with light strokes. Attempts to cut through the layer in one go will drag at
the card and result in buckled beading, maybe broken blades and even blood on the
work. The gentle approach is also easier on the fingers and the temper. Keep the
knife sharp.
We must cut, repeat cut, the unwanted parts out. Do not tug at the blank.
If the blank sticks go round again with the knife. Use the round edged scalpel blade
with a forward rolling action to get into sharp corners.
I will discuss rounded ended panelling later. For the moment I propose to
get on with the general process of cutting out the coach side.
Fold Layer 1 up and out of the way. Layer 2 will be found to bear the scars from
cutting out layer 1. Treasure the scars for these are your guides for cutting layer 2.
Fold layer 1 down again and mark out the droplights on layer 2. Shade any apertures
that are to carry through unchanged. Mark out the window pockets for the quarter
lights, slightly larger than the window aperture in layer 1.Cut the apertures in layer 2
Fold layer 2 out of the way and again using the cut marks as a guide mark out and cut
layer 3.
With layer 4 we have a slight change in that the quarterlight window inner frames get
smaller again and need to be the same size as the apertures in layer 1.
Obvious, fold down layers 3, 2 and 1 and lightly cut mark the outline using layer 1 as
a guide! Fold layers 1,2,3 out of the way and cut holes in layer 4.
Layer 5 deals with the inner droplight frame in similar manner to the quarterlights in
layer 4. However the quarterlights apertures themselves increase inside the coach so
the apertures in layer 5 are about 1mm larger all round than those in layer 4.
Layer 6, the last one! Repeats the quarterlight aperture from layer 5 and increases the
size of the droplight aperture to that in layer 1.
Admire but do not fiddle. Your card has nice sharp edges, the more you mess
about the more woolly they become.
Scene 3. Sticking together
Slip a bit of polythene sheet between layer 6 and the spare layer. Using PVA white
glue thinned with water (see Act 1) stick layer 5 to layer 6, continuing up the stack to
layer 1.
Do not stick layer 1 in place yet. Slip a piece of polythene between layers 1 and 2 and
place the entire stack under a couple of heavy books for at least 24 hours. Remove the
polythene and trim the solid lump that is layers 2 to 6 to final length, removing the
end trimmings. Do not cut top and bottom. Fold down layer 1 and glue in place.
Back under the heavy books for another 24 hours.
Finally, cut layer 1 slightly overlength. About 3mm projection beyond the rest of the
layers at each end will do fine. Not very fussy as we will be trimming these tabs back
on assembly.
Cut the top and bottom edges of the sides, at last freeing a pair of sides from the stack.
Draw a deep breath and relax.
Scene 4. Shellacking.
Now retire to the shed, garden or wherever the Domestic Dragon is unable to detect
the smell of meths. Do not judge her sense of smell by your own, mine can detect
beer at a hundred paces, whisky at half a mile and B.O. ten minutes after I exit the
shower.
Slop a coat of shellac on to the coach side. We need the runny, milky consistency
here. Turn it over and do the other side. Turn it back.. By now the first coat will have
sunk in. Slop on another coat. Turn over. Continue to and fro until the side refuses to
take any more.
Leave to dry out thoroughly. All the little whiskers should now feel crisp to the
touch. Rub over lightly with fine steel wool and clean up window apertures with
SWMBO's abrasive claw sharpeners. Dab with damp (not soaking) kitchen towel to
remove dust.
Scene 5. Painting.
Now is the time to paint the coach side. A coat of grey primer will show any
blemishes, which can be dealt with before proceeding. Paint with your chosen colour
and put away to really harden off
Scene 6. Glazing
Cut windows to fit the pockets and try them in place. Cheap CD cases provide the
window material.
Act 3
In which I propose to deal with the construction of the ends and other external
bodywork externals.
Scene 1. Round cornered panelling.
I have used several different tools for this job, none is perfect. They are :The multi-hole leather punch. This is the plier like device with the rotating battery of
hollow punches beloved of arts and craft shops. Not bad, cuts cleanly but suffers from
lack of reach for our purposes.
The wad punch. These are the hollow punches sold for punching holes in gaskets etc.
They are too heavy, too clumsy and need heavy resharpening to a thinner edge before
use.
The home made punch. So easy to make. (See Fig 7.) can be of mild steel but is
better in siver steel and hardened. Since the cutting edge chamfer is on the inside it
compresses the waste not the work. It does the job well with a little practice. My
personal favourite.
When doing round cornered panelling cut the corners first. The straight cuts can then
be located by hooking the point of the scalpel in the curved cut at each end.
Locating the punch with reference to the straight cuts so that the curve flows smoothly
is beyond my small skills.
Scene 2. Ventilators.
Here I mean those awkward things that sit above the doors. They are there to
infuriate modellers and seem to exist in two varieties. See Fig.8
The first is the simple sloping hood to keep the rain out of the air hole through the
door. Construction is so obvious from the sketch it needs no further words.
Second is the louvred type. Looks as though invented by the devil but easier to make
than they look. Two methods; one for card, one for polystyrene sheet.
For card we need a jig. Piece of thicker card with second piece forming a stop. Inner
faces are covered with 'Sellotape'. I don't know the colonial brand but it is the thin
shiny plastic sticky tape without which no civilised society exists.
Prepare a few strips of card about 1'' wide and cover with Sellotape.
-- Sellotape is great stuff . It not only repels common glues but also Epoxy and
polyester resins. Stick it to wood or cardboard for quick moulds.-Prepare some strips of card the intended width of a louvre slat and some slightly
narrower strips. Lay a strip of card along the base of the stop. Glue a spacer strip on
top and use a pair of the sello/card strips to hold them up to the stop. Repeat for next
layer, ...and the next. Allow to dry and remove from jig.
Fortunately there is a easier way. Take a handsaw and put it in the vice teeth up. The
teeth should be just proud of the jaws. My pruning saw is fine for this since it has a
narrow blade.
Clamp a wooden block to the blade close up to the jaws to act as a guide. Take a strip
of plasticard (styrene sheet ) about 12mm wide and around 3mm thick and at least 4''
long. Backing it up with a strip of wood, work the sheet to and fro at right angles to
the teeth. Make some spares while you are at it.
By the way, the same method, using hacksaw of appropriate pitch, will produce sets
of louvres for decorating plastic diesels. Make louvres in 3mm sheet, frame in
1,5mm, leaving projecting louvres. But back to coaches
Scene 3 - The coach ends
If the coach ends have windows they must perforce be laminated like the sides. If
they are blank, time may be saved by using thicker card or 3mm ply but having an
outer face from our standard thin card. This not only provides a surface in common
with the rest of the coach but also provide a projecting lip to cover the ends of the
sides on assembly. Hopefully Fig 9 clarifies matters.
Note that the projecting end of the coach side will be trimmed off only after final
assembly.
If it is a coach end with beading coming to the full width, the projection on the coach
end must be two layers thick ,i.e. the top beading layer and behind it the end facing
layer.
If it is an older coach having square cornered beading which is inset within the area
of the coach end, it is easier to apply the beading as strips.
Carry out the shellac routine but despite the temptation, do not glue the corner joint
yet.
Scene 4. Floor and bulkheads.
The floor is usually made of 1/8'' (3mm) ply or thick picture mounting card and sits
between the sides and ends. Upon this are erected the bulkheads and seat frames also
of thick card. Do not rely on the curve at the top of the bulkhead to support the roof. It
won't. Cut the bulkhead short about 3/16''(5mm) below the top of the sides and make
use of the extra space to make a decent roof. Slop a couple of coats of shellac on the
floor and bulkheads but don't rub down.
Scene 5. Internals.
The internals of the coach are best completed now while access is easy. Furnishing is
down to the individual modeller but I will mention a few favourite materials.
For internal wood panelling I like to use 1/32'' balsa. I like to treat a whole sheet at
once and keep it in stock. A coat of wood stain to choice is followed by a couple of
coats of shellac of paint like consistency on one side only. After rubbing down that
side is given two or three coats of clear satin varnish rubbing down between each. It
cuts easily, is prefinished and the back is rough enough to take glue.
Scene 6. Seats.
These are simply card benches supprting seat squabs and backs. The squabs
themselves are pieces of card covered with the appropriate materials.
Cloth seat coverings. I like the effect of the fine velvet hair ribbons which come in a
wide range of colours and which are very cheap. There are many other ribbons
available including those suitable for carpets.
Leather. Can be card or from balsa, carved to shape,covered with tissue and painted
with gloss paint. Polish with black wax boot polish to get the leather look.
American cloth Cover with tissue paper and paint gloss black. A coat of satin
varnish reduces the glitter of the gloss paint.
Scene 7. Assembly.
Only after the internals are finished to your satisfaction should you fit the sides. For
this job I prefer epoxy resin for its gap filling ability.
Others will have other preferences. Lay the side flat and glue the floor, end, bulkhead
sub-assembly in position. Leave to set under judicious weighting. Repeat for other
side. Now at last, trim off those annoying tabs on the end of the sides and fill any
cracks.
Scene 8. Roofs. (prototype and model
Many coaches have roofs. Most of the problems with model coach roofs are due to
the roof being too thin. This arises from lack of observation. If one wishes to model
a coach roof, go look at a coach roof not someone elses model. I have seen many
models with curved thin marine ply or even bent tin roofs. Remember that due to our
relatively elevated viewpoint the roof is a very prominent feature.
A prototype roof in our period was quite thick; Thick enough to walk on and that
means at least 3/4''. It was usually tarred and covered in canvas laid in transverse
strips with around a 3'' overlap. Edges would either be turned under and nailed in
place or more usually covered by a wooden strip or both. (See Fig 10 ).
At the coach ends a further wooden strip would usually protect the body/roof joint.
There are no really hard and fast rules but the visible edge of the roof needs to be
around 0,040'' to 0.050'' thick (1.0 -1.25mm) and that is at least two or three layers of
our file card.
Laminate as shown in the sketch i.e roof layer (s) wrapped in simulated canvas glued
to a generously oversized base layer. When the glue has set the projecting base layer
is cut to size by placing a thin steel rule vertically against the upper roof as a gauge
and trimming off the excess. Transverse strips of tissue handkerchief simulate the roof
canvas although I prefer linen laid writing paper.
Our roof is still quite flexible so we must give it some support. A shaped balsa sub
roof that fits inside the body sides and rests upon the tops of the partitions is
ideal(Remember? We cut them short just for this.) It is light and can be cut away to
accept lighting wires etc. before assembly. An alternative is a framed construction in
card but this does tend to be rather flexible.
So there you have it. The basic cardboard coach body. There is much more that
could be said but there is no substitute for experience. I shall judge the success of my
efforts by the number of models built and shown on the group. As any lecturer knows
this is the time to ask ''Any questions/'' on the offchance that some of the audience are
still alive. Thanks for putting up with it all. Exeunt
Colin B
PS I have deliberately avoided coach chasses and running gear in the interest of
brevity but will do a brief? description of a pair of simple coaches for the novice if
there is still any interest. PPS Please do not think that the foregoing screed is/was a
claim to any originality or special skills on my part, much was learnt from my good
pal Donald Boreham and amplified by my many mistakes.