 So this clinic is going to include quite a few things. It's going to, town planning, everything you build requires a plan. So the town is not an exception in that respect. And we're going to get into that modification of DPM structures. It's my policy given these presentations to cut down on the scratch building and use all buildings that you can easily buy and modify. We're going to get to forced perspective. Perspective in simplest terms, the things that are close to you seem larger than they are a mile away. In model work, we have to force that to make it look more appropriate. Full BI techniques, I'll get into that when we get to the point. Roads and grade crossings. Every time we have a town, you're going to be crossing a track somewhere. We've got to address that. Signs, lighting, trees, foliage, and a few more things. Can you hear me now? Yes, I can. Terrific. This is where Mystic is going to go. The end of Mystic Yard is right here. And I've included a passing siding because I'm going to do some switching here. I have a stub end siding here and I've got to switch back here. This is the narrow gauge going up to the mines. And we'll have to talk about more of that later. This is it in a drawing. So I've got about 30 inches to the backdrop. The red line is the Mystic line. It doesn't cross here. It goes down behind here. That's not even a mistake in the thing. So I have about eight inches to recreate or create forced perspective. Every town or everything you do should have a focal point. And I chose this Fallberg station. It's a kit. When it came out, it had a big long overhang on each end and big beams across to support that overhang. And it looked more European or Switzerland or something like that. So I shortened the roof and just put roof supports in to make it look more American. But I like the look of all the roofs. And you can see all the circuits I have going into that building. Here's the first two structures. Both the DPM structures. Right now I'm just putting them behind the building and finding what's going to happen. I have nothing cast in concrete at this point. It's just put there to see how it fits. There's another DPM structure and a magnificent structure. And those are glued at a bleak angle for the next road that goes behind the station, or will go behind the station. All roads in deep river are dirt roads and all sidewalks or wooden planks. It's a little bit behind the times. Roads and grade crossings. All right. This cardboard strip, I just tacked up to see what it would look like to have the narrow gauge go through a grade crossing on my layout. Since the equipment is smaller than the standard gauge, it lends itself to my forced perspective. And we'll see how successful that was as we get on. So I plastered the end of it and brought it across the tracks down in the foreground. I started putting screening in. So I'll see that little spot there, hopefully, with the train going by. This is kind of a creative grade crossing. I get strip wood that's just a little bit thinner in height than the rail height, so it doesn't hang up the trains. And color them with floco grime or gray or light gray or something like that. And I cut them to fit around. This is a dual gauge turnout going through this crossing. But that's where the road had to go. And then we put a board on either side to meet the dirt road as it comes up. Here's the plaster going in as my first house in forced perspective. I think it's probably easier to start in the back and pick a size and then come forward and increase the size a little bit by a little bit as you get toward the front. We'll see how small the next side. Forced perspective, all right. This is a 101 lesson in forced perspective. The gray part is two sides of an HO structure. And those three mock-ups in the back are slightly smaller than the one in the front of it. My question to you, what is the distance between the front of the here and back there? Wants to make a guess. No, not quite. Eight inches or eight and a half is about right. But you can see it makes that far building back farther because of the buildings in front at a larger next. Things to remember. I had a guy come in and look at the layout and he was looking at the mystic part and he looked at the buildings way in the back and said, what's the scale of those, n scale? And I said, no scale. Think in proportion. Don't get tied down to scale. Otherwise, you get all confused. Background structures have little detail. Just the embarrassed essentials because you don't want any detail to destroy the forced perspective. And the backdrop building must not lean. If they lean even an eighth of an inch, it's going to look like it's going to fall over. If you're lighting structures, power your bulb that are very low voltage. So you have a dim light. You don't want to look like K mark or something like that. You want it to look like it's home. Paint the inside the structure black if you're going to light the structure because it's going to look like a Christmas tree bulb if you don't. Avoid dark colors for roasted sightings because things in the distance don't carry the color as they do as they close up. And the surrounding foliage is in size and color proportion as well. Next. This is that house that we saw a couple of times ago. It's made out of styrene. Notice that the windows just have a cross piece in the window. That's about the only thing you can see from a distance. It could be 8 over 8 for all you know. But the only thing you can really see is that major division in the window. The roof started out black, but I followed my own suggestion, and then I started to lighten it with chalk and streaking it. I had to put a foundation because it's going to sit on the side of a hill, so I just painted it on. So you can see how big it is. It's not very big. And that's what I started with. So I painted inside the building so that it wouldn't show the light through next. And since this is going to be a farm, I made a gambrel roof or a barn. And I remember my lesson. I made this one more gray. I streaked this to make it look like boards are going up and down. The side was a 1 eighth inch towel with ink lines on to show the bands and probably put a little more effort in. I need to in that next picture. This is the other side of the barn. I didn't paint it black because it's not going to be lit. And I don't model what you can't see. So that's if it looks good from the other side, that's all I had to know. Next. And this is a good representation of making sure they don't lean. This level was put up against the silo, which is the straightest thing you could have. And it looks like it's going to be perpendicular. Next. Here's a couple more structures that are going to be coming toward the front. This one here is still back far enough so you only see the window. But I did add a shed on it to give it a little more variety. This one has two over one. It's got winter sills, fancier roof, and it's got corner pole. So that building could be just beyond the foreground buildings. Next. Here's that one with the shed. I had to extend the shed because when I started putting scenery around it, there was always a gap under that shed. So I extended the shed so that all the foliage that I did covered that area. It's on a pedestal that moves around because it's going to be placed on the side of a cliff, actually. Next one. Here it is now. And anywhere I could keep it in place and visualize it, is to put it on that pedestal that will be hidden by scenery after a while. Here's the other one. It's hanging on a shelf behind one of the DPM structures. You won't see the shelf, but show the next slide, please. So this is the building it's hanging on now. This looks like it's standing on its own, particularly when the store next to it gets next to it. And they all go back and create a relationship between each other. Next, please. I decided to make a styrene house myself and then put it in the foreground. And I made it two over two with the windows. I even made a porch with it. I made my own railings because I thought Grant Ryan railings are much too large. And I was curious after I did it, I matched the grant line windows. And they were exactly the same size as mine. I could save myself from work. But anyway, this structure is going to be just beyond the very foreground buildings. So only a two-sided structure, so I had to put a piece of cardboard across to hang them across. I put a piece of cardboard up here to keep the light from shining through the attic window because I figured when the structure is lit, they wouldn't necessarily be in the attic. Next one. That's a finished structure. It won't win any contests. But it's good enough for a background structure. I put a fancier chimney on the roof. And I would have. Next one, please. I have the finished kit of a structure. And it looked nice. And so I figured I'd just make this one out of cardboard. I made sure that all the window openings fit Grant line windows because I didn't want to go through all that aggravation. Here it is, with one window in place. I scribed to make it look like lap siding. I made a two-course foundation around it, shingles on both sections. I painted it green because I didn't want it to stand out. And the trouble is, when I got it in place, it not only didn't stand out, it didn't even look like it existed. So I decided early on to change the color. You can see all the circuits I have going into this thing. I got the Grant line windows. I glazed them. And then I put curtains on the inside of the windows. And when I put the windows in, I had an instant interior detail. Here I'm putting little roof supports up here. Still green. Next one. Now it's yellow. Now I'm sitting on a piece of particle board with several courses of stone round supporting it. The plane will go right in front of here. I put a picket fence to keep people from falling off the wall and put a foliage around. And I put some ironwork on top of the two rows, which is typical of the style, and put a fancy chimney. Next one, please. This is the kit. And the windows are much smaller in mine than in the kit. And I have no windows in the turret, nor do I have a front porch. So it's about 10% smaller than the kit, which is what I was looking for, because this fits right in with my setting. Next one, please. Now what's wrong with this picture? With the exception that scenery isn't done here. Who can point out what went wrong? Well, that's another thing, yeah. I think so, and it's crowding it. So that was my thought, too. And that's why you got to be prepared to take it out, don't save it, and we don't throw it away, but you can put it somewhere else. But if you make a mistake like this, correct it. Next one, please. So I made a smaller structure. This is out of capsizing, simple structure all the way around. Next one, please. And now this one has been able to put foliage in between. And boy, foliage is our friend. It makes separation between buildings and hides things and everything else. Next one, please. This is a bulb. And what I want to stress about this bulb is it's a 28-fold bulb. And it gives me a lot of flexibility in lighting it. I would light this probably at eight volts, or maybe 10, or maybe 12, but not 28. And when it's just dim like this, it gives you the dim like you're looking for. Next one, please. This structure is going to sit on top of it. The only thing you have to worry about is you don't see the light through the windows. Next one. This is the night view. And notice how subdued the light is. It's not bright. It's not standing out, not drawing attention to itself. And that's the kind of light you want for background structures and even some foreground structures.