DIORAMAS MADE SIMPLE by 'Airframes' Copyright © 2008 Airframes Studio PART ONE INTRODUCTION. Many modellers spend long hours producing some stunning models, especially in these days of numerous after market accessories and detailing products, and then put them away on a shelf or store them until the next exhibition or competition – I know, I do it myself, although I don’t bother with competitions these days. Although there is nothing wrong in this practice, and lets face it, we only have a certain amount of space to store or display the fruits of our labours, why don’t we make our models work for us, and add one or two dioramas to our model collections? The possible answer to this question could be “I’m nervous of trying a diorama; I wouldn’t know where to begin!” There are numerous publications available covering the construction of dioramas, including those by the recognised masters, Shep Paine and Francois Verlinden, and very good they are too! However, these publications have to be bought, and might not always be readily available. Also, some of the dioramas in the various books, and the processes required to construct them, may well prove daunting to the novice, especially if he or she is relatively new to the modelling hobby. Well, the aim of this work is to dispel the fear of attempting what at first may seem a major challenge, and to guide the reader through the various stages of producing an attractive diorama. In a step by step guide, we will look at the research, planning, story line and construction and display of dioramas, and how to achieve a good result without going to major expense or huge lengths to realise our aims. Although aimed principally at aircraft dioramas, all of the following is equally applicable to military vehicles and figures, and some completed examples of the latter are illustrated later for reference. It is hoped that this work will be of value to both the beginner and the experienced modeller alike, and consequently I have deliberately avoided the use of complex techniques, materials and so forth. Likewise, the example subjects covered are designed to produce displays of manageable proportions, although the ultimate size of a finished display is, of course, down to the individual. SECTION 1. So what is a diorama? The general dictionary definition of a diorama states that it is a realistic presentation of objects, paintings and effects, including colours and lighting, portraying a scene or event. A good example of this definition would be, for instance, the display of a full size aircraft in a museum, against a backdrop depicting the period concerned, with life size manikin 1 figures, equipment and perhaps vehicles to set the scene. For example, the Spitfire Mk1 in the Battle of Britain Hall of the RAF Museum, at Hendon, England. In this example, instead of just displaying an historic aircraft, the visitor is able to view the Spitfire in surroundings depicting the period (the Battle of Britain, 1940.), in a setting that transforms the exhibit from a static lump of metal into a vivid reconstruction of an important period in history. The same is true of model dioramas, where not only can the miniaturised aircraft be displayed, but the story surrounding it can be fully presented in three dimensional miniature form, for another description of a diorama is a picture in 3D. It is often said that a picture is worth a thousand words, and every picture tells a story, so if that picture is in three dimensions, then the story must be threefold! It was around 1963 when, as a boy of 11 just getting 'seriously' started in the hobby, I first visited the Imperial War Museum at Lambeth, London. As a youngster brought up amid tales of World War Two, to be let loose (under a strict fatherly eye!) in this Mecca of aviation and armour exhibits was thrilling, to say the least. Spending my childhood in the North East of England, there wasn’t much opportunity to see actual historic aircraft, apart from the usual Dakotas and Tiger Moths at Newcastle airport, and the gate-guard Spitfire at nearby R.A.F. Acklington, yet here there was a real Spitfire, Hurricane and tanks, among many other fascinating exhibits. Then I spotted some of the wonderful, scratch-built display models, and the centrepiece, what at the time seemed a huge glass- cased diorama depicting Avro Lancasters at dispersal and taxiing around a bomber airfield, which was complete with control tower, buildings, vehicles and personnel, all, if my memory serves me, in 1/72 nd scale. That one image conveyed more to me than any description or period photograph could ever do, and has remained in my memory ever since. I think that was when my enthusiasm for the modelling hobby, and the portrayal of actual events, really got a massive boost, and, although I haven’t seen that diorama in forty five years, it still inspires me today; and that’s what is needed in building a diorama – inspiration! Many modellers build a superb model of their chosen subject and then decide to place it in a diorama setting, often a simple scene depicting a dispersal point, or perhaps more complex, with large amounts of equipment, figures, starter trolleys etc. scattered around. All well and good, the inspiration might have been there initially, but things start falling apart when some of the basic rules of planning are ignored. As an example, some time ago a friend, who had not long been involved in armour modelling, showed me one of his first attempts at a small diorama in 1/35 th scale. He had built a really first class model of a German halftrack, complete with detailed figures; the whole lot beautifully painted, detailed and weathered, and then decided to display it as a diorama, which, I have to admit, looked very good. However, he had displayed the vehicle fully “cammed up”; in other words, covered in camouflage netting, branches etc., which, although it looked very realistic and authentic, prevented the model vehicle itself from being seen! Not only that, but the scene depicted was supposed to be late autumn/early winter, yet the miniature “foliage” used was full bloom summer vegetation. In his enthusiasm to complete his masterpiece, he had ignored some of the basic planning rules; in as much as he had detracted from the hard work invested in modelling the vehicle by making it disappear 2 from view, and had ignored his own research into the scene by portraying incorrect surroundings! So, having attained the inspiration for our diorama, the next, and perhaps most important step, is PLANNING. PLANNING THE SCENE . In building a particular model, we normally have an idea of what we want the finished subject to represent, and will then carry out the necessary research and gather together as much reference material as possible to help us in our task. From my own experience, I know that this “intelligence gathering” can take longer than the actual building and finishing of the actual model, and quite often leads to frustration as contradictions of information crop up. That’s one of the reasons I try to model an actual documented subject, or build what I call a “representative” model, that is for example, an aircraft of the correct serial block, with the correct squadron codes, but where no positive photographic or written records exist to provide evidence of which code goes with which serial and so on. Inevitably, this type of model will perhaps represent an undistinguished aircraft within a particular unit, and not the mount of a famous ace, as so many models do, (including some of mine!). The P51C Mustang portrayed in the first diorama build is such an example, being an anonymous machine representative of the 361 st Fighter Group. In planning the scene for a diorama, the research into the background of the scene is equally as important as the research into the aircraft depicted, if we wish to avoid falling into the trap of my above mentioned friend, and spoiling the overall effect by applying too much inspiration and not enough planning. Remember, we are producing a three dimensional picture, which is supposed to be telling a story, so the whole lot has to come together seamlessly. It is also worth remembering that, when planning a diorama depicting a particular aircraft, the model of the aircraft should be built for the diorama, not just added to a diorama. As an aviation artist, I have always had to follow some simple rules in order to produce an accurate painting of an actual event, and so far, these rules have not let me down. These same rules can be applied equally to the production of an attractive and accurate diorama. They are :- WHAT ? WHEN ? WHERE ? WHY? In other words; what are you depicting, when is it happening, where is it happening and why? 3 This may seem obvious and straightforward, but you'd be amazed how easy it is to make a simple mistake by forgetting or ignoring the answers to any one of the above questions, and it’s not only us that can be guilty of small mistakes that can have a big, if sometimes over exaggerated, effect on the finished product. It can happen to professionals too! Although to me it in no way detracted from what was a very well made movie, to some pedantic enthusiasts it spoiled Speilberg’s movie “Saving Private Ryan” when, in the closing battle scenes, a pair of Mustangs roared overhead, knocking out the attacking German Tiger tanks.