Lining - How not to do it! 

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On the page I will document my attempts at lining the Burrell.  I am a complete novice and I am sure that many of the techniques I will try won't work.  I hope that by documenting them here other may learn from my mistakes.  

A lined engine can look magnificent as Burrell Showman's Engine Dolphin right demonstrates.  Clearly this quality on lining is out of my league but I have a lot to learn and many skills to master before I can do justice to my Burrell.

There are three methods that I am considering using, special masking tape, Beugler  lining tool and traditional brush.  

Mike has sent me some pictures of his fine lining for which he used stencil masking tape.  Using these tapes, high quality straight lines can be produced with little effort.  This appealed so I sent  off for some. 

I have found two sorts both working on slightly different principles.

The first tape I found is available from Frost.  This is a single part 1" wide tape with 8 1/16" wide perforated peal off strips running down its length.  The tape is first stuck down whole and one or more of the 1/16" wide strips pealed off.  It the example right (top) I have removed 3 strips, left 2 strip, removed 2 strips which will produce two lines of 3/16 & 1/8 separated by 1/8".  This tape has the flexibility to produce a wide verity of patterns provide they are on a 1/6" pitch.

The other tape I have found is by Finesse available from PinstripingUK.   This is a two part tape.  The tape is first stuck down whole, and then the clear backing pealed off to revel the stencil.  While the pattern is fixed this this tape is available in a wide range of patterns on a 1/32" pitch.  It is also possible to lay it down to follow a gentle curve.  In the example above at the bottom of the plate is Finesse tape F25 which produces  3/32" and 1/16" stripes separated by 1/6". 

Having stuck down the stencil it is time to apply the paint.  I use One Shot lettering enamel because it is spirit based and has good covering power.  The advantage of a spirit base is that it is different to the cellulose base of the body colour.  This gives a better chance of removing mistakes.  

I am using 100-L Vermilion and 130-L Primrose Yellow (Note: The darker yellows may have been a better choice)

I use a pinstriping brush to apply paint to the stencil though an artist brush could be used. The pinstriping brush allows longer between reloading and enables precise control when using multiple colours.

The final task is to remove the masking stencil.  This should be done soon after applying the paint as otherwise it has a tendency to creep under the tape. 

The picture right shows the painless perfect lines produced by the two types of stencil masking tape.

The stencil tape is excellent for regimented straight lines but as they cannot cope with curves so I am also looking at traditional methods.

The picture right shows my pinstriping tools. At the bottom is a traditional generic striping brush useful for long straight and slightly curving lines.  The brush in the middle is a xcaliber striping brush noted for its ability to lay down curves.

I introduced myself to traditional pinstriping by buying the Pinstriper Mini Trial Kit from PinstripingUK this got me going but I had to buy the Xcaliber brush for tighter curves.  The kit contained an introductory video which though aim at automotive art was very useful.   An alternative source for some items is A S Handover but I have not tried them.

On the recommendation from the Video I use Stabilo Chinagraph pencil to lay out the design before painting.  I prefer to lay  the line to the left hand edge of the intended line so that I can keep it in sight whilst painting.  I am not sure how these pencils affect paint adhesion which is another good reason for marking to one side on the intended line.

Having previously tried without guide lines I found that they made life much easier. 

Rather than simply dipping the brush into the paint it has to be paletted.  I palette on clear plastic sheets salvaged from food packaging though any surface able to withstand the solvent can be used (glossy mags).

A small quantity of paint is transferred to the palette (using the brush).  The paint is then worked with the brush whilst noting consistency and reducer (thinners) added until the paint is creamy and does not pull.  A final paletting near the edge of the puddle ensures that just the right amount of paint is loaded onto the brush.

The line is laid down using the brush as a sword.  I find it relatively easy to lay down a straight line by following the guide mark but extraordinarily difficult to obtain a consistent line width.  The width is determined by the distance of the brush from the surface and  I have also found that paint consistency has a marked effect.

Longer lines can be done is several stokes.  Between each stoke the brush is paletted and the tip of the brush brought back to above the end of the line. The line is restarted gradually increasing pressure until it is of the desired width.

The wipe out tool right is extremely useful. It has a hard rubber chiseled end than may be used to 'push the paint around'.  If a line is not in quite the right place, or is too wide it can be used like a bulldozer to push the paint back into line.  It is a useful tool even if other methods are used to apply the paint - get one.

I find that it helps to dip my fingers in talcum powder to enable them to slide on the work surface.  This is particularly important as I use latex gloves.

I find pinstriping the traditional very hard and I clearly need more practice before attacking the Burrell.  I use the side of an old PC case and as soon as I have finished an 'attempt' I wipe it off with white spirits.

I also have painted up some 1" wide metal strips Burrell Maroon so that I can practice lining spokes.

The main reason I want to use a brush is so that I can do curves.  The picture right shows the final touches being applied to a practice spoke pattern.

This is the pattern I intend to use on the Burrell wheels and I have been practicing on dummy spokes.  The picture below shows 4 of my attempts.  On the top two spokes I used a hybrid technique where I used the Beugler striping tool for the straight yellow lines.  Not only does this improve the appearance it simplifies marking out. 


I still need more practice perhaps since they are never seen I will use the inside of the rear wheels.  I believe that when I have perfected the technique of using the Beugler for the straight lines and brushes for the curves the results will be OK.  I have tried using the Beugler for the curves but I find it too hard to control.

19/9/05 I have learnt that my chosen design may not be correct for a Burrell.  I hadn't realised that lining styles differ between the manufactures and it would seem that I have been influenced by Fowler designs.  My dilemma now is whether to go for the design I like or research to correct lining for a Burrell.  The austenitic route it hard to follow  as the Modelworks Burrell is based on no specific prototype and being an agricultural engine it should be presented in a more drab style.  I already have too much brass work and even the Burrell Maroon may be too showy.  

Friday 14th October: With no kit in sight I decided to get back to lining practice.  I wanted to try a different design which I hope will be more in keeping with my engine.

At the top of the picture right is a drawing of my intended design with my first attempt below.  I did the straight lines with my Beugler lining tool and the tails with my pinstriping brushes.

I was not happy with the tails so I decided to see if this could be done with the Beugler. 

The business end of the Beugler has a disc which picks up paint as it rotates.  In use the Beugler is drawn across the work and a line is left behind.  I have found that depending on consistency the paint flows resulting in a slightly wider line than expected. 

The usual method to fill the Beugler is to up end it and pour in the paint from the can.  As I find this makes a mess of my paint pots I made a spout which I fit over the top of the Beugler.   This enables me to suck the paint directly from the paint pot.

The Beugler has a guide that can be run along an edge in order to produce a parallel line.  My concept is to use the curved end of the spoke as a guide to produce more consistent tails to my design.

In the picture right the guide bar can be seen to the right of the paint wheel. (click to enlarge if not clear)

To enable me to practice I made another aluminum spoke.  I did not have time to paint it but this is just as well as I wiped the lines many times before I had finished my practice session. 

The final result after completing both sides.  When I do it for real the rim of the wheel will get in the way so I have stopped the lines short. I used masking tape at the end of each line to get a clean break. 

Working on a dummy spoke held in the vice is one thing.  I need to take the plunge and try this on a wheel.