Clutter

Modeling Debris, Litter and Miscellaneous Junk

by Bob Hyman

Most prototype scenes have an abundance of debris, litter, and other miscellaneous junk  scattered about.  I group all of these things together with a term that -- for lack of a better word -- I call "clutter".  Some modelers call these things details.  I prefer to use the term details to define specific characteristics of a modeled object.  Clutter itself can have various level of detail, just like a structure or piece of rolling stock .  Like other modeled objects, clutter can be highly detailed and explicit -- think of it as "foreground" clutter.  Other clutter can be less detailed and relegated to "background" placement.  The level of detail in the clutter depends on what purpose it serves in the scene and where it is located. 

Since clutter is so prevalent in most prototype scenes, its absence in modeled scenes is very noticeable.  Clutter needs to be included in most modeled scenes.  This does not mean that modeled scenes should have an overly “trashy” or “garbage-strewn” appearance.  It means that most scenes should incorporate an assortment of items in various spots where prototype clutter would normally accumulate.  Clutter is usually man-made objects, but can also be composed of natural objects like weeds and organic debris.

   Photo 1.   High level view of my Sn3 model of Spataro's Garage. (click on image for larger version)

What is Clutter?

In any scene, clutter falls loosely into one of three major categories:

This includes relatively new items that are awaiting initial use or things that have recently appeared in the scene.  Typical new clutter could be stacks of ties, bridge timbers, and framing lumber; pallets of building materials; individual pieces of equipment or machinery; boxes, crates, drums, and cans; coils of rope and wire; etc.  New clutter also includes things like stacks of firewood, recently stacked for the upcoming winter.  It also includes recent debris or litter from a storm, flood, or from inconsiderate inhabitants.  It can be left over scraps of material from a project which is obviously in-work.  The major factors that all new clutter have in common are that they are clearly recognizable and look relatively new.  Keep in mind that any new clutter of value would probably be stored indoors or at least placed in a somewhat sheltered area.  New clutter is generally neatly arranged and is, for the most part, located in a relatively weed-free and relatively clean environment.  

These are items that have previously been used in some capacity, and are now idle.  If it is equipment or material, it has potential uses ahead of it and is simply awaiting redeployment.  If it is debris or litter, it has been there for a while and is either awaiting cleanup or eventual natural decomposition.  If it is boxes, crates, or metal containers, they are are probably open and may be either partially full or completely empty.  Used clutter can be of various ages, and ranges from almost new to dilapidated.  Some evidence of deterioration will almost always be present – either by rust or discoloration or deformation.  The individual items can, for the most part, still be recognized for what they are.  The objects may show evidence of once having been neatly arranged but are now starting to lean, tilt or scatter.   Areas around used clutter may have weeds and other debris that help establish a visual clue as to how long the clutter has been there.

These are items that have outlived their usefulness or have been allowed to deteriorate beyond recovery.  Used clutter has no practical purpose or value other than perhaps as scrap.  It has usually deteriorated to the point that individual objects are barely recognizable.  Old clutter is haphazardly strewn about and is usually overgrown with weeds and debris. 

Of course, the lines between “new”, “used” and “old” clutter are somewhat blurred.  Remember that “one person’s trash is another person’s treasure”.  The same thing is true with clutter.  Much depends on the era and locale being modeled.  The financial status of the modeled subject, as well as economic times in general, will dictate how much and what types of clutter should be in the scene.  Also, the three categories of clutter are sometimes intermingled.  A group of crates or drums might include some that are unopened, while others are obviously opened and in use.  There could even be some empty ones mixed in.

  Photo 2.  A mixture of "used" clutter.  (click on image for larger version)

How Clutter is Used in a Scene

Clutter serves many purposes in a modeled scene.  It is usually a supporting item to a larger, more important object.  It may be used as a tool to divide or unify a scene. It may be incorporated a a hidden surprise waiting to be discovered by a viewer.

Clutter as a Supporting Actor

Clutter is a great supporting actor.  This means that it is not the primarily modeled item in a scene.  Rather, it is there to support the primary object.  If the primary object is a structure, the clutter helps to define its purpose, to establish its age, and to show its importance (or lack thereof).  In my Sn3 model of Spataro's Garage, the weathered sign above the door indicates that the structure was once a livery stable.  It is the clutter outside that tells the viewer that it is now a garage.

Clutter as a Scene Divider

Clutter helps to define limits within a scene and to visually separate closely spaced scenes.  If the primary object is a landscape, the clutter helps define its boundaries.  For example, clutter strewn along a stream bank defines the high water mark.  Downed trees and/or fences along a wooded area define the edges of a cultivated field or meadow.  A grouping of clutter can break one large area into two or more smaller areas.  For example, a few crates or drums on a structure floor can separate a working area from a storage area.  These separated areas then become individual sub-scenes within the overall scene.  This breaking of large scenes into smaller view "bites" causes the viewer to spend more time analyzing the model and makes it be perceived as more complex than it really is. 

Clutter as a Scene Unifier

Clutter of a similar nature --, either in age, shape, color, texture, or function -- can tie together separate portions of a scene and help to create an overall theme.  For example, in a yard scene, separate primary structures might include an engine house, a coal tower and a water tank.  Each of these three items is a primary focal point for a viewer and will be observed individually in great detail.  The inclusion of common clutter at each ties the individual items together and helps define their relationship to each other.  On trick is to use a given color or texture of clutter, exactly three times within an overall scene.  The viewer's eye will automatically connect the three similar items and jump from item to item in succession.  This creates visual interest.  In the yard scene, I might include a red fire barrel at the engine house,  a red poster hanging on the coal tower, and a red lantern at the water tower.  These three red items are simply individual pieces of clutter at each focal point, but yet subconsciously they tie the entire scene together.  With my Spataro's Garage,  objects like the '34 flathead motor out front, the dismantled pickup around back,  and the White Trucks and John Deere signs on the building reinforce the overall theme.

Clutter as a Surprise

I always try to hide surprises in my modeled scenes for the viewer to discover.  I've heard these referred to as "Easter Eggs" by some modelers.  Clutter makes perfect Easter Eggs.  Since the viewer expects to see clutter in a scene, he really doesn't pay much attention to it.  Occasionally, one piece of clutter will catch his eye.  When it does, you've got him -- you've drawn him into your scene.  This is one of the tricks in making your scene look realistic to the viewer.  It's hard to see in Photo 3, but there is a stray cat stalking a mouse near the box at the corner of the building and a spilled barrel of coal at the bottom center of the photo.

  Photo 3.  Surprises waiting to be discovered. (click on image for larger version)

Modeling Clutter

In my personal modeling, I find that about 75% of the total clutter I place in a scene is of the used variety.  About another 15% is old clutter and the remaining 10% is new clutter.  Of course, these proportions are somewhat arbitrary, and affected by the fact I model the Depression-era (1939) and a financially strapped line (the RGS).  Your proportions may vary substantially from mine.

Stretching Your Clutter

A modeler could go broke trying to purchase enough objects to fully populate a scene with all of the prototypically correct clutter.  Fortunately, it is not necessary to fully populate a modeled scene with individual objects in order to give a perception of evenly distributed clutter.  Clutter is best used in clusters, where each cluster is located at or near a focal point in the scene.  The viewers eye will automatically jump from one cluster to the next.  Mentally, the viewer will perceive an overall impression of randomly dispersed clutter throughout the modeled scene.  By the way, this trick works on just about any kind of detail.  For example, I don't put pine cones on all of my trees; I just put enough so that the viewer assumes that all of my trees are detailed!  Once you have shown the viewer a bit of clutter here and there, he will mentally generate the rest of it for you.  Saves a lot of time and money!

Where Do You Get Clutter

The answer is simple -- everywhere.  You can purchase just about anything but there are other sources as well.  I have itemized a few of the more obvious sources below.  Undoubtedly, there are many others.  Don't think of a specific scale; items from other scales can often be utilized quite effectively as clutter.

Summary

Clutter is essential in order for a modeled scene to faithfully replicate a prototype.  The selection and placement of clutter in a scene is just as important as the primary modeled object  -- perhaps even more important.  The clutter helps to define the role of the primary model, and both separates the scene into smaller "bites" and unifies the overall effect.  Clutter falls into different categories; including new, used, and old; and sets the stage for your scene by giving hints about its age, purpose and importance.  Clutter doesn't have to be everywhere in a scene, but there needs to be enough of it to convey a perception of overall random distribution.  Clutter is widely available and easily obtained.  Add some clutter to your next model -- your viewers will appreciate it.