1:35 Plot z ostnatého drátu

A fence that divides up the area of a scene

Barbed wire on its own is only a line. It is the posts that hold it that turn it into a fence - and that is exactly what this set rests on. Inside lie ninety-four cast parts and a photo-etched sheet to go with them, so the result is a complete fence with its own supporting structure, not just a few meters of stretched strand between improvised stakes.

Where a fence like this belongs

It tells most strongly where something visibly separates: the perimeter of a prisoner of war camp, the boundary of a field airfield, the fencing of an ammunition dump or the ground in front of a trench line. A broken section also works splendidly - a sagging stretch between two uprooted posts over a rutted track says more about the story than a whole unbroken row. A fence run across a base also divides the area into two zones and gives the scene a depth that the terrain alone will not create.

Working with the surroundings

It goes naturally with a watchtower, a worn footpath, tufts of grass at the foot of the stakes and with figures standing at the fence or crawling under it. Beware of mixing periods, though: a dense coil of razor wire belongs to modern bases, whereas this type of fencing fits field and camp scenes of the first half of the twentieth century. And give the wire room - a line pressed up against the edge of the board looks like a backdrop, whereas one that runs out of the scene and disappears beyond the edge gives the impression of going on further.

This is a kit accessory for a scene: terrain, trees and figures are not inside.