Building Realistic Miniature Mountains
A lot has changed since I built my first miniature mountains over ten years ago. New products have appeared, some old materials have disappeared, and after building scenery on several layouts I've changed both the materials and methods I use. In this article I'll show you not only how I build mountains today, but also why. We'll compare several common methods, discuss their strengths and weaknesses, and then build a realistic mountainside from the ground up using the techniques that have given me the best results.
There are many ways to build mountains, and every modeller has a favourite.
The important thing is understanding the advantages and disadvantages before investing time and money.
Framework of plywood covered with aluminium mesh
Aluminium Mesh
For many years aluminium mesh was one of the most popular methods. A framework of plywood was covered with aluminium mesh, followed by household paper soaked in diluted white glue. Rock castings were glued on top and everything finished with plaster. The method certainly works and makes it easy to create almost any mountain shape.
However, I eventually abandoned it for three reasons. First, tiny pieces of aluminium wire tend to break loose during construction.
These fragments are difficult to see but can eventually find their way onto the track, creating intermittent short circuits inside hidden tunnels that are extremely difficult to diagnose. Secondly, aluminium mesh has become increasingly expensive. Finally, it produces a fairly heavy scenery structure.
Laminated Shape Sheets
Several manufacturers now offer laminated aluminium foil products, such as Woodland Scenics Shaper Sheet. These products are much stronger than ordinary aluminium foil and can easily be formed into realistic terrain. The textured paper surface also provides excellent adhesion for plaster. The main drawback is cost. While perfectly suitable for a small diorama, covering a large layout quickly becomes expensive.
Styrofoam Construction
Layered styrofoam was especially popular during the early 2000s. Sheets are glued together and shaped with a hot-wire cutter before being covered with plaster. This creates a very rigid mountain and works well for standalone rock formations or smaller hills.
For large mountain ranges, however, the method has several disadvantages. It requires a lot of material, produces considerable mess during shaping and results in solid mountains when most large mountains on a layout really should be hollow.
Wrinkled Rock Paper (Knitterfelsen)
Lightweight wrinkle paper products promise quick results but have not impressed me. Over time, changes in humidity reduce the wrinkles and flatten the surface. Adding glue for vegetation can also discolor the paper, making it difficult to achieve convincing realism. Although lightweight and quick to install, I don't consider this the best solution for permanent layouts.
Materials Used
- Cardboard from packaging boxes
- Masking tape
- Bathroom tissue or household paper
- White glue
- Plaster (Plaster of Paris)
- Rock moulds
- Flexible construction adhesive
- Acrylic paints
- Black wash
- Turf and clump foliage
- Seafoam branches
My Preferred Method
Begin by cutting cardboard cross-sections that define the overall profile of the mountain. Install all cross-sections first. This makes it easy to judge the final appearance and adjust the outline before any surface material is added.
Where flat areas are required for buildings or roads, use rigid sign board material or 4 mm plywood.
The cross-sections are then connected using ordinary masking tape, forming a continuous skeleton ready to receive the scenery surface.
Creating the Mountain Surface
The entire framework is covered with ordinary bathroom tissue or household paper. Each sheet is glued using a 50/50 mixture of white glue and water. Start at the top and work downwards, allowing each sheet to overlap the previous one.
Once the first layer is complete, soak it thoroughly with the glue mixture before adding two more layers.
When dry, the paper forms a surprisingly hard shell that provides an excellent base for the remaining scenery.
Adding Rock Formations
There are two ways to create texture. The simplest method is to glue crumpled pieces of paper beneath another paper layer. This creates soft undulating terrain suitable for hills. For exposed rock faces, however, nothing matches plaster rock castings.
Making Rock Castings
Rock moulds are filled with ordinary casting plaster (Plaster of Paris). Mix approximately three parts plaster to one part water. Sprinkle the powder into the water rather than pouring the water onto the plaster. When the correct ratio has been reached, small dry islands should still be visible on the surface. Allow the mixture to soak for a minute before stirring. Pour a relatively thin layer into the moulds. Thick castings tend to project unrealistically far from the mountainside.
Once hardened, glue the castings onto the paper shell using flexible construction adhesive. This gives plenty of time to move the castings around until they fit together naturally like a puzzle. The remaining gaps are filled by sprinkling dry plaster between the castings and blending it with a damp brush. Working one small section at a time makes the process both easier and cleaner.
The entire rock face is painted with warm gray acryllic paint.
Painting the Rock
Painting is where the mountain comes alive. Always begin by studying photographs of the real landscape you're modelling. For Swedish west coast granite, I use a warm grey mixed from titanium white, burnt umber and just a touch of black. The paint should be heavily diluted before application.
If modelling sandstone instead, mix white, yellow and yellow-brown. Preparing several shades of the same colour allows subtle variation across the rock face. After the base colour has dried, individual details are painted manually rather than sprayed. Small areas of burnt umber and reddish brown reproduce mineral variations found in natural rock.
Black Wash and Highlighting
The next step is a black wash. Mix one part black acrylic paint with approximately nine parts water. A few drops of alcohol can be added to improve flow. The wash settles into cracks and recesses, greatly increasing contrast. Afterwards, dry-brush the surface using an off-white colour. Only the highest points receive paint, instantly enhancing texture and making the rocks stand out, particularly under indoor lighting.
Static Grass, Moss, Bushes and Trees
No mountain looks convincing without vegetation. Observe nature carefully. On Swedish granite, moss often grows in dark streaks where water runs down the rock face. Apply thin white glue along these paths and sprinkle fine turf over the surface. Adding black wash from above further deepens the effect. Grass is best applied using a static grass applicator. Bushes can be made using clump foliage.
For birch trees, Seafoam branches provide an excellent starting point. Remove the original foliage, spray the trunk white, mist the fine branches black and add fresh leaves using spray adhesive. Separate individual branches before planting them. Using many small trees always looks more realistic than using only a few large ones.
Bushes moss and grass adds to the realism of the miniature mountain
Detailing
Lastly add the details you want on and around the mountain. It could be tunnel portals, retaining walls and fences for instance. Many of these are availble as 3D-models for home-print. 3D-printing offers you nicely detailed items at very favorable prices. Both the portals and fences can be printed in H0- and N-scale (see Workhop Tip below).
Final Thoughts
After more than ten years of experimenting with different materials, I've ended up returning to simple, inexpensive construction methods. Cardboard, masking tape, household paper, plaster and careful painting still produce some of the most convincing mountains I've ever built. The only real disadvantage is weight. Compared with foam-based methods, plaster scenery becomes heavier, which may be worth considering if you build portable modules.
For permanent layouts, however, the combination of a recycled cardboard framework, paper shell, plaster rock castings and carefully layered painting remains, in my opinion, one of the best ways to build realistic miniature mountains today. As with most scenery work, the materials themselves are only part of the equation. The final realism comes from careful observation of nature and taking the time to add the subtle colours, textures and vegetation that make every mountain unique.
/ Martin T