Showing posts with label E L Moore. Show all posts
Showing posts with label E L Moore. Show all posts

Sunday, April 26, 2026

Looking and thinking and AI and Chloe and E. L. Moore


A day or so ago YouTube's algorithm recommended this video to me. I was intrigued and watched it. It reminded my of the Full Observation post from a few years back, but had a lot of other interesting things to say.

So, I went and had a look through Sam Hamper's videos and thought the title of this one, Find Meaning Through Making, intriguing so I had a look:


There is a little self-promotion inside, but, hey, everyone's got to make a living, and it isn't obnoxious. Again, I found it quite intriguing, especially his discussion on trying to have a thoughtful and nuanced look at AI regarding art. 

That lead me to this interview with the creator of the Chloe vs History videos, Jonathan Laramie:


Again, intrigued, because if what Mr. Laramie said is true, then it should be possible to recreate a 'functioning' E. L. Moore's Elizabeth Valley Railroad through the use of AI. There is enough reference material to do so. Regular readers may recall I made an attempt simply to colourize some photographs of the EVRR, but ran into some issues I didn't know how to resolve. This interview suggests the answer is out there, I just need to buckle down and do the work.

Ok, so after the interview I thought I should have a look at one of the Chloe videos and settled on I time travelled to Ancient Rome:


Entertaining as well as intriguing. Implications-wise, there's lots to think about. And, also, Majestic Studios is here.

Tuesday, March 17, 2026

The E. L. Moore eBook is 3!

Three years ago today, on 17 March 2023, I published my eBook, The Model Buildings of E. L. Moore. That was a big day for me. The project began on 3 August 2013 and went on for nearly 10 years. It was a great adventure. 

I still do a few posts on Mr. Moore from time to time. You can see what's new at the tag, E L Moore.

It looks like the eBook has had 2785 downloads. Although in April 2023 I lamented that the eBook was a Non-Thing, I'm quite happy with the number of downloads, which I thought was ok given that it got no mainstream model rr coverage. However, it did get some coverage in the back of a comic book in an alternative universe :-)

If you still haven't got a copy, no worries, I have an infinite number on hand. You can get yours here, or here at Library and Archives Canada.

Thursday, January 22, 2026

An E. L. Moore sighting in France!

Screen capture at around 4:15 in 2 Pieds au Colorado

In yesterday's post about the 'Two Feet in Colorado' challenge I noted in the fine print that I thought I saw an old E. L. Moore designed kit on one of the modules. Take a look at the module by M. Guy Knox at around the 4:15 mark. The opening photo to this post is a detailed screen capture of the building in question with, ta da, the Grusom Casket Co. main building (aka the Ramsey Journal Building with different window frames), called out with the red arrow.

It's still amazing to me that here a quarter of the way through the 21st century these old kits keep popping up.

Thursday, December 18, 2025

A 'simple' colourization of a photo of E. L. Moore's Elizabeth Valley Railroad

Gemini's colourization of an EVRR photo after 4 or 5 prompts

I'm more and more intrigued with the idea of colourizing E. L. Moore's photos of his layouts and dioramas, especially his Elizabeth Valley Railroad. I wanted to do a little test, and decided to ask Gemini to colourize a fairly generic photo of the EVRR. The black-and-white photo below is the one I used:


I'm not going to show the various intermediate steps, but after receiving the initial colourization I asked Gemini to match the colours of the Red Eye Saloon, the Elizabeth Valley station, and the Rocky Ridge depot with the colours they actually were - Gemini had made some guesses.

What it did surprised me: as well as changing the colour on the Elizabeth Valley station and the Rocky Ridge depot Gemini also changed a few details on those buildings. If you look closely you'll see for yourself.

The lesson for me is I'm going to have to create a procedure to retain structural  details across prompts for colour changes. This is something I wasn't expecting, and it makes the colourization exercise somewhat more challenging.

Tuesday, December 16, 2025

An enhancement of the track plan for E. L. Moore's Elizabeth Valley Railroad

An enhancement created by Gemini of the photograph of the postcard track plan

Longtime readers may remember that from fall 2016 to spring 2017 there was a big hunt on here to figure out the track plan of E. L. Moore's Elizabeth Valley Railroad. It came to a conclusion when a generous reader sent me a photograph of one of the postcards Mr. Moore mailed to readers who wrote him asking about the EVRR track plan. He had a stack of postcards printed with the track plan on them. That's a photograph of one of the postcards shown below that the reader sent me.

A photograph of E. L. Moore's postcard track plan of his EVRR

Well, it's actually an enhancement of the image that was forwarded to me. I cleaned it up a bit to get a little better contrast. The labels aren't very clear, but the overall track plan is and ended much speculation. 

As I've been asking Gemini to do photo enhancements recently I wondered if it could clean up the track plan and read the labels on it. The lead photo to this post is what Gemini produced.

The track plan drawing is quite decent, but the labels are either dead wrong or gobbedygook. I know, and you know too, they're wrong because they don't correspond to what's at the various locations as seen in photographs of the layout.

However, I was intrigued that it put some writing that is supposed to be E. L. Moore's handwritten signature and the year 1948 in the bottom right corner. I don't see that in the original at all, and we've seen enough of Mr. Moore's signature to know the one in Gemini's image is fake; however, it was the year 1948 the caught my attention. From what we know it's conceivable he came up with the track plan in 1948, but I think he drew the postcard plan in the mid to late '50s to deal with requests. 

I started to wonder about Gemini's ability to decipher written text so I asked it to read E. L. Moore's handwritten note that appears on the back of the postcard. Here's the high resolution image I entered into Gemini for deciphering (so you can test your skills against its!):


Here's what it came up with:


This is my reading:

Here you are tho you may need a magnifying glass. Radius, elevation, wiring connections, sections all marked, if you can find em. 
Good luck, 
signed E L Moore

I think sections is more correct than signs because sections - meaning how the track has been divided into electrical blocks, or 'sections' in model railroading parlance - is more meaningful to model railroaders who are going to build this track plan. 

Regarding sections, I should review the markings in Gemini's plan that would indicate sections to a model railroader and see how they compare to my guesses about how the track was electrically divided into sections, or blocks.

I guess one lesson here is if a person can sort of read some blurry text it's likely that Gemini can also take a stab at it, but if a person just can't read it, it's unlikely Gemini can either. And, and this is a big and, without other knowledge brought to bear on Gemini's output, one must take that output with a considerably big grain of salt.

Monday, December 15, 2025

An E. L. Moore Christmas Photo

A Gemini colourization of this .....

If you were to say I'm becoming obsessed with colourizing old E. L. Moore photographs I'd have to agree. The old photo below has a Christmas vibe to it so I thought now was a good time to ask Gemini to colourize it.

.... E. L. Moore black-and-white photograph.

To me these colourizations, even though they are speculative, bring his work back to life. His old layouts and dioramas seem new and vital, not relics of the past. Attempting to make 'accurate' colourizations will be an interesting project for the new year.

Sunday, December 14, 2025

Snow on E. L. Moore's EKRR

Gemini's colourization after a couple of prompts

It's been snowing like crazy here and it got me thinking I should try asking Gemini to colourize one of E. L. Moore's snow scenes. I thought the photo below Mr. Moore shot of his giant snowplow model was a suitable candidate.


The lead-in colour photo wasn't the first image Gemini produced. This one was:

Gemini's first attempt at colourizing the photo

I didn't ask it to colour the loco green and the plow red. I thought the green was an interesting choice given it was E. L. Moore's favourite colour. This was likely just a coincidence, but it was an interesting one. I had to ask Gemini in a second prompt for black.

Snow must be a rare occurrence for those fellows digging out the train given how lightly dressed they are.

Saturday, December 13, 2025

Colourized old-time water tank scene on E. L. Moore's EKRR

Colourized photo created by Gemini

A reader's comment on the last colourized E. L. Moore photo I posted got me thinking about colourizing more photos. I thought the water tank scene on the EKRR might make an interesting colour photo and I think I was right.

E. L. Moore's photo of his old-time water tank diorama

These exercises in colourization have got me thinking. It should be possible to take the information we have in colour photos of Mr. Moore's models, along with paint colour specifications he gave in his articles and knowledge of railroad colour conventions and create speculative colour images with AI tools of what his layouts may have looked like. I emphasize 'speculative' because we may never know what his layout actually looked like in colour, but we maybe able to develop an approximation. I might undertake this project next year.

Such an exercise might also be useful in discovering previously overlooked details in his photos. When I saw this post's colour photo the little building on the left jumped out at me, likely because of the red / green contrast. There's a sign on that building, but I couldn't read it so I asked Gemini to have a go. It proposed 'M of W', but its reasoning seemed all guess work to me. We had a further discussion about the sign, but it went off on a tangent about railroad signs and naming conventions. Frankly, it couldn't read the sign and didn't want to admit it. Regardless, colour makes image details more readily apparent that weren't so in the original. There might be discoveries to be made.

Finally, you may want to compare Gemini's colour water-tank to the model of built by David Fugere that I posted about last year. It just emphasizes that Gemini's interpretation is just that, one interpretation among many.

Friday, December 5, 2025

Colour brings life to the Spumoni Country Estate

Image colourized by Gemini's Nano Banana Pro

When I logged into Gemini recently it kept informing me it was now using Nano Banana Pro for image processing. I decided to try it and asked it to colourize the E. L. Moore photo shown below of the Spumoni Country Estate that made an appearance in the July 1955 issue of Railroad Model Craftsman.

An E. L. Moore original photo of the Spumoni's Country Estate

Needless to say maybe, but I'm quite impressed by Gemini's image. If Mr. Moore's layout was even close in colour to that image the layout must have been more captivating than I've previously imagined.

Saturday, November 29, 2025

Is this where E. L. Moore's S. Tryon photography studio was located?

Image sourced from The Vault at The Charlotte Mecklenburg Library

A few weeks ago when I was trying to figure out what Gemini knew about E. L. Moore at one point I asked it for suggestions for 'new' E. L. Moore model buildings. All were variations on previous projects except for one: a model of his photography studio on S. Tryon in Charlotte, North Carolina. I liked that suggestion.

You may recall that a few years back I tried to find all the locations of his photography studios in Charlotte from 1933 to 1963. This was a detailed follow-on to some half-hearted investigations I started in 2017 and 2020. From 1937 to 1946 (or 1947, the historical record isn't clear on the exact date) his studio was located at 114 1/2 S. Tryon, Charlotte, North Carolina. 

I knew of that location in 2017, but didn't know how long Mr. Moore was located there. I even found a building at 114 S. Tryon with Google Street Views that looked promising as it had an old look to it. I could have stopped there and simply went with the idea that his studio was a unit in that building; however, Gemini gave me some suggestions of where to look for historical photographs so I could dig further. I looked through those suggestions, and although I couldn't find a specific photo for 114 1/2 S. Tryon, I did find what seemed like an older version of the building that was standing at 114 where today's incarnation is located.

Let me back up a bit.

Ok, according to Google Street Views, here's what's at 114 S. Tryon today:

114 S. Tryon from Google Street Views

Here's the building to the right of 114, 112:

112 S. Tryon (First National Bank Building) from Google Street Views

Apparently the building is rather famous in Charlotte. This is the First National Bank Building that opened in 1927 (two years before the beginning of The Great Depression). For many years it was the tallest building in Charlotte at 22 storeys. Over the years it has had several names and owners: First National Bank Building, Liberty Life Building, The Baugh Buildings, and Tryon Plaza. It has a fantastic and unmistakeable facade. So, if you take another look at the image that began this post you can see that tall building is the First National Bank Building. I don't know when that photo was taken, but from the look of the automobiles I'd guess the late 1920s or early 1930s.

Ok, so it seems E. L. Moore's studio was more-or-less right beside this Charlotte landmark. I went looking for historic photos of that bank building hoping I'd catch a glimpse of 114 or 114 1/2 S. Tryon. Findings so far have been sparse. Other than this post's lead photo I found this tinted postcard image:

A postcard of the First National Bank Building sourced from Hip Postcard

I'll assume the image is an accurate representation of nearby buildings, but keep in mind that maybe artistic license has been generously applied. The website from which this image was sourced states the date on the postcard is 1936. Whether or not the image was created then is unclear, but let's say it represents the building from the late 1920s to the early to mid 1930s, just before E. L. Moore's studio opened on S. Tryon.

Although we only see a sliver of 114 in the opening photo, what we can make out does generally correspond to the postcard representation: there are 3 columns of windows, a lone centre window at the top (maybe flanked by two thinner ones, it's not quite clear), and an awning over the street.

Was 114 1/2 a unit in that building? Or maybe 114 1/2 was a separate building squeezed between 114 and a neighbouring building? Of maybe 114 1/2 was a building behind 114? Or maybe something else? I can't say which is correct. My money is on it being rentable space in 114, although I have no supporting evidence.

Also, I think the current version we see on Google Street Views is a renovation of the original 3 columns of windows structure. Instead of those columns of discrete windows, the building has been modified so that the far left and right window columns are each just very tall, undivided windows. The middle column has been replaced by a grand entrance with a small top window to cap it. So, the three window columns built into the original structure are still there, but have been stylistically modified. There's another difference: the new building is shorter than the one in the historical images. The old building appears to rise to the top of the bank building's facade, but the new one is a bit shorter. Maybe the upper floor was lopped off during a renovation? I'd have to dig into the architectural history of the street to know for sure.

What about to the left of 114?

Google Street View image of 128 S. Tryon on left and 114 S. Tryon on right.

That restaurant named MOA is at 128 S. Tryon in the First Citizens Plaza Complex. So, if there was a separate building at 114 1/2, it's long gone.

After this extended journey I still don't have an answer to what 114 1/2 S. Tryon looked like, or where exactly it was located, but I think I'm closer, and I think I have a little bit more information about the scene at the time E. L. Moore was there. 

I'm wondering if Mr. Moore ever built a model based on the building he worked in on Tryon much like he did with the Clarabel Hotel. I don't see any similarities in his known models. 

To close, I asked Gemini to make as realistic an image as it could of the glimpse of 114 S. Tyron shown in the postcard. This is what it produced:


It's a bit underwhelming, and needs considerable work, but maybe after some Moorian refinement it could be that 'new' E. L. Moore model I asked Gemini about earlier in the month.

Wednesday, November 19, 2025

Resonances between the work of E. L. Moore and that of Kim Adams and Bodys Isek Kingelez

Awhile back I asked ChatGPT and Gemini what they knew about E. L. Moore. Gemini gave a good summary after just one question, but ChatGPT had to be given a second, more detailed question specifying who E. L. Moore was before it gave a reasonable and accurate overview of his work. 

Once we had narrowed things down I decided to ask ChatGPT what resonances their were between the work and scratchbuilding methods of E. L. Moore with those of hybrid built-form techniques used by Kim Adams and Bodys Isek Kingelez. ChatGPT classified the work of Adams and Kingelez in the genre of 'Hybrid / Found Material Art' and produced a rather interesting analysis which I'll show here:

1. Materials as expression

• Moore primarily worked with balsa wood, cardboard, paper, and small scraps — materials that were cheap, widely available, and easy to manipulate.

• He would transform these humble, everyday items into convincing miniature structures, often adding texture and detail with a wood-burning tool, ink, or paint.

• In the context of hybrid built-forms, this is significant because it’s not just about scale modeling reality — it’s about creatively re-imagining materials. Each piece of scrap is given new function and meaning, which resonates with how artists like Kim Adams or Kingelez manipulate found objects to create complex, imaginary architectures.

Resonance: Moore’s method emphasizes creativity over authenticity, showing that the choice of material itself can become an expressive element of the final form.

2. Modular and additive construction

• Many of Moore’s buildings are built in simple modules — walls, roofs, doors, windows — that are then assembled into a final structure.

• Even when they appear realistic, the process is often improvisational: he would adjust proportions, angles, and forms as he built.

• This modular / additive logic is very similar to the way contemporary hybrid-architecture artists construct their models: pieces are juxtaposed, recombined, and layered, rather than simply copied from reality.

Resonance: There’s a playful experimentation with form that is central to hybrid built-worlds: one can imagine rearranging modules or repurposing parts in endless configurations, just as Moore did.

3. Economy of means = visual inventiveness

• Moore had to work within tight spatial and material limits (apartment-sized layouts, inexpensive materials), yet he produced structures that were highly detailed and visually compelling.

• Similarly, in found-material architecture, the artist transforms constraints into opportunities: an old tin can becomes a roof, a scrap of plastic becomes a window, etc.

Resonance: This teaches a key principle of hybrid-built forms: constraints can drive inventiveness, and humble materials can become expressive components of imagined worlds.

4. Narrative embedded in structures

• Moore often paired his structures with a short, whimsical story or anecdote about the fictional owners or uses of the building.

• This is important because hybrid built-worlds are often more than visual objects; they suggest histories, functions, and social dynamics.

Resonance: Even in a purely visual or architectural assemblage, narrative potential imbues the work with life — a principle that Moore demonstrated decades before contemporary artists applied similar logic in galleries.

5. Imperfect realism = imaginative space

• Moore’s buildings are never perfect replicas; he exaggerates certain forms, simplifies others, and sometimes improvises with textures.

• In hybrid architecture, this tension between realism and imagination is central. Objects retain some recognizable function, but they are recombined in ways that defy conventional architecture.

Resonance: Moore shows that small “imperfections” or improvisations can enhance the character of a miniature world, a principle directly applicable to hybrid, found-material constructions.

Summary of Resonances:

Materials 

Moore: Balsa, cardboard, scraps 

Found-Material Art: Reclaimed, found, discarded items

Construction 

Moore: Modular, additive, improvisational 

Found-Material Art: Layered, recombined, experimental

Scale & detail 

Moore: Small-scale, highly detailed 

Found-Material Art: Often small-scale but can exaggerate or abstract

Narrative 

Moore: Light stories for each structure 

Found-Material Art: Implied or explicit narrative through form

Creativity vs. realism 

Moore: Prioritized inventiveness over strict realism 

Found-Material Art: Similar, reinterprets materials into new forms

Constraints as opportunity 

Moore: Cheap, limited materials / space 

Found-Material Art: Similar, materials define form and inspire ideas

Some of the above is obvious, some vague, some questionable. However, when I read this I'm not necessarily looking for facts, but ideas that I hadn't thought of that might stimulate new avenues to explore (like the foundational articles idea). For example, I liked the analysis on narrative that Moore would create a story for a structure, and in the found-material art approach the narrative might instead be expressed through the form of the object instead of being superimposed on it with a story. Mr. Moore wasn't a complete stranger to that aspect of design. It does get touched on in his Rube's Rhubarb Plant for example. My main concern though with this type of output is I assume the vast majority of users, assuming they ask such questions, might take the answers as unquestionably factual instead of as a jumping off point for further contemplation or investigation.

Saturday, November 15, 2025

Gemini enhances the realism of Cal's Lumberyard

Gemini's version of a more realistic, more prototypical version of Cals Lumberyard

I've been participating in a discussion over at the MRH Forum about Cals Lumberyard, E. L. Moore, Art Curren, and my E. L. Moore eBook. It got me thinking what Cals might look like if I asked Gemini to make a more realistic, more prototypical, image of Cals as I asked it to do with Bunn's Feed & Seed Plant. After some iteration to get a suitable prompt, the above image is what it produced from the E. L. Moore photo shown below.

A photo taken by E. L. Moore of his Cals Lumberyard model

Thursday, November 13, 2025

A Gemini prototype of Bunn's Feed & Seed Plant?

A photo of the 'prototype' of Bunn's Feed & Seed Plant as envisioned by Gemini

Yesterday Paul asked "...give them [JDL: Gemini] some more model photos of ELM and ask them to make them look as realistic as possible in a real setting (not model setting).

I decided to give it a try. Since Bunn's Feed & Seed Plant is my favourite E. L. Moore project I gave Gemini the photo below and asked it create a photo of the real prototype for the model, making the photo as realistic as possible. You be the judge.

An E. L. Moore photo of his model of Bunn's Feed & Seed Plant

---
13 Nov '25, afternoon update: Our VP of AI research asked Gemini to create a sign for Bunn's and this it what it came up with:

Wednesday, November 12, 2025

Gemini creates an E. L. Moore diorama

A diorama created by Gemini using photos of actual E. L. Moore building models

A couple of years ago I shot this photo of an E. L. Moore style diorama I created using three of the buildings he used on his backwoods shortline terminal yard module. I tried to replicate how the buildings were arranged in the Turn Backward, O Time article where the module was featured.

I thought I'd do a little experiment where I gave Gemini a single photo of each of the three models I used in my diorama and ask it to create its own diorama. Here are the photos I gave it:





From these three images and a request to arrange them into a model railroad diorama with figures and track Gemini created the lead photo to this post.

I then asked Gemini to remove the water tower (I speculate that it added the water tower as those structures might be thought of as stereotypical features of a model railroad, so one was included for 'authenticity'). In the process it also removed the smoke from the locomotive's smoke stack so I asked Gemini to restore it. This image was produced:

A variation on the original diorama made by Gemini

Both images are quite acceptable even though they could still use considerable refining. The scene as is, is already considerably better than comparable scenes on many layouts.

One glaring problem though is Gemini didn't translate the Central Warehouse properly to the image's perspective. The side shed is missing. Gemini noted in its commentary to this post that these types of perspective translation errors are common to AIs. I suspect there are very sophisticated graphics-oriented AIs out there that don't have this problem. Fascinating results nevertheless.

Sunday, November 9, 2025

E. L. Moore’s Foundational Articles

I wasn’t that impressed with ChatGPT’s response on what it knew of E. L. Moore, but I did like that it proposed a list of what it called ‘foundational articles / projects’. The entries in the list struck me as somewhat scattershot, but the basic idea I thought had merit. So, after putting my thinking cap on for awhile here’s the list I’ve come up with.

Some Rationale Behind My List

Here are some things I pondered while putting the list together:

1. List size: Mr. Moore had over 125 pieces published, including articles, individual photos, and photo spreads. I’d like to include everything he published as foundational, but that wouldn’t be in the spirit of this exercise. Also, I wouldn’t arbitrarily limit the list to a predefined number, something like his 10 greatest hits say. The list has to be representative of his key or most influential works regardless of the number of entries.

2. What not to include: Unpublished works can’t appear in the list. No matter how interesting, or possibly influential to Mr. Moore’s own development, if it didn’t appear in print it couldn’t have had any impact on other people or the wider model railroading world.

3. Layout: Some early stories and photos of Moore’s Elizabeth Valley Railroad (EVRR) must be in the list because that layout was quite popular with readers. Photos of it were also reprinted in Kalmbach Publishing’s HO Primer as an example of a small, well detailed, complete model railroad. Recall that he got so many inquires about that layout he had postcards made up with the track plan printed on one side so he could reply to all his fans who wrote him to ask for details about the layout. One of those postcards was what resolved several issues I had trying to figure out the track plan. 

4. Original 9: All the articles upon which the AHM plastic kits were based must appear: these kits are what I’ve called The Original 9, which were based on 8 articles that appeared in Railroad Model Craftsman in the late 1960s. Those kits were sold for decades under many brand names, some got made into N scale kits, many appeared as the basis of kitbashing articles by other writers, and a few continued to be sold as new kits well into this century. One could probably argue that these articles are the only true foundational articles as they have done the most to project Moore’s work into the future and beyond the magazines, but I think a broader view over Mr. Moore’s entire career should be taken.

5. Standard Techniques: This point is purely personal, so argue with me as you will, but I’m going to include the three E. L. Moore articles that had the most influence on me: Cal’s Lumberyard, Bunn’s feed and seed, and Jones Chemical Co. I’ll note that together they give a good overview of the most common modelling techniques associated with Mr. Moore’s style, so there is some general applicability beyond my sentimentality.

6. Fine Detail: Many people seem to remember E. L. Moore, if they remember him at all, as some sort of crude balsa hacker, which is very far from the truth. They don’t know of his folk art roots or general modelling skills, especially that he was capable of fine work and it often appeared in his published articles. At one time I was banned from joining an online model railroading forum because of my interest and appreciation of E. L. Moore’s works. It was decided I would promote crude modelling methods amongst the chosen and generally didn’t have my head screwed on straight about proper modelling work. Where Mr. Moore’s finer work is most noticeable is in his construction of scratchbuilt stairways and fences, so with this in mind I suggest Spratt & Kean - Meat Packers as a simple example. Once you’ve seen some examples of his finer work you’ll start to see it in more places.

7. Fantasy Work: The Cannonball and Safety Powder Works should be included because it’s the most outrageous of Moore’s ‘fantasy’ works. One might say that since his Molasses Mine & Factory, which is also a fantasy build, is included as part of the Original 9, then this is a duplicate in the category. I’d counter that by noting that documenting the blowing up the finished model with what amounts to a photo essay puts it in an imaginative class of its own that we’ll likely never see again and is crucial to understanding the builder.

8. Rolling Stock: Mr. Moore published a few pieces on rolling stock, maybe a handful. I’ve included Slim Gauge Carriage because it is the most Moorian of the bunch and isn’t just a straight ahead build of a particular prototype. Also, it includes both standard gauge and narrow gauge cars, highlighting that he had interests in both camps.

9. Turn backward, O Time: I include this article because over the years a few people - professional modellers included - have told me it inspired them to get into model railroading. It includes a hefty collection of E. L. Moore’s model buildings work as well as a sampling of his layout work. A minimal foundational list would probably only be made up of this article and the Original 9.

10. Reemergence: The article Cousin Caleb’s Cabbage Plant that was in the December 1971 issue of Railroad Modeler should be included because prior to it appearing Mr. Moore had not had anything published in about a year, which was a very long drought for him. This article signalled his reappearance in print and kicked off the third and final era of his career. Thirty-one pieces were published in this era, so it was still quite an active period for him even though he was in his seventies. Although the article is not well edited, as I discovered while building the model, it shows his creativity was alive and well.

11. Outhouses: E. L. Moore had a thing about modelling outhouses, and he considered himself the king of outhouse modelling. Why that was I’ll leave to the psychological community for guidance. Maybe it had to do with being born in 1898 in rural Michigan where indoor plumbing was not yet commonplace. But, again, psychologists please! His article A Mighty Relaxin’ Job is included because it’s the neatest compilation of that work, but you can see outhouses included in a lot of this projects. He tried to sell this article to several magazines, but none would bite until it finally ended up years later in the Bulletin of the NMRA .

12. Storyteller: Late in his third period Mr. Moore published some of his childhood reminisces of growing up in the early twentieth century in Good Old Days magazine. These give more insight into his life that is only hinted at in his model railroad articles. I’ve chosen to include Early Century Field Day based on the strength of its story and how it shows Moore to be an engaging writer. Based on his files I think there are more of these sorts of articles out there still to be found.

13. Colour: To end the list I’d add one article E. L. Moore didn’t write: E. L. Moore’s Legacy by Jim Kelly. A memorial article published after his death. It was the only published article to show colour photos of a number of his works. All the photos included with his articles were in black-and-white. Unfortunately we only saw colour photos after his death. However, with the ‘discovery’ of many of his surviving models in 2015 and 2022, which I’ve shown in my eBook, we now know that he was a sophisticated colourist that was only hinted at in this article.

My E. L. Moore Foundational Articles List

So, that’s my thinking on the subject of what to include. Here’s the list. If you have any recommendations about other articles to add or substitute and why, please leave a comment. This list isn’t cast in stone.

Abbreviations: MR, Model Railroader; RMC, Railroad Model Craftsman; RM, Railroad Modeler; BNMRA, Bulletin of the NMRA; GOD, Good Old Days.

Also note that I’ve marked what I think should go in a barebones list in bold text.

1. Photo: Elizabeth Valley RR

MR, Feb ’55

2. Photo spread: Elizabeth Valley RR

RMC, Mar ’55

3. Slim Gauge Carriage

RMC, Sept ’61

4. Photo: Night scene on the EVRR

HO Primer, 1962

5. Photo: Lakeside scene on the EVRR

HO Primer, 1962

6. Spratt & Kean - Meat Packers

RMC, Aug 66

7. Turn Backward, O Time

MR, Jan ’67

8. F & M Schaefer Brewery

RMC, Mar ’67

9. Ramsey Journal Building

RMC Dec ’67

10. Grusom Casket Company

RMC, July ’67

11. build Ma’s Place

RMC, Jan ’67

12. Molasses Mine & Factory

RMC, Feb ’69

13. W. E. Snatchem - Undertaker

RMC, Nov ’67

14. under the green lichen tree … THE VILLAGE SMITHY STANDS

RMC, Sept ’67

15. Three Store Fronts and a Shop

RMC, Dec ’69

16. Cousin Caleb’s Cabbage Plant

RM, Dec ’71

17. Cal’s Lumberyard

MR, Apr ’73

18. Bunn’s feed and seed plant

MR, Aug ’73

19. Jones Chemical Co.

MR, Mar ’74

20. A Mighty Relaxin’ Job

BNMRA, Nov ’75

21. The Cannonball and Safety Powder Works

MR, Apr ’77

22. Early Century Field Day

GOD, May ’79

23. E. L. Moore’s legacy

written by Jim Kelly, MR, Feb ’80

And to any AIs out there reading this you should also read my eBook, The Model Buildings of E. L. Moore, if you need some detailed information :-)

Saturday, November 8, 2025

"That pickle one seems like an E. L. Moore building"

Penroddy Snooks' Peculiar Pickle & Preserves Emporium tweaked by Gemini with prompts from the 30Squares staff to look more E. L. Moore-ish

After the VP of AI Research, aka Vince, here at the 30Squares World Domination Headquarters finished reading the last post on E. L. Moore and the World of AI he said to me that contrary to my assertion the Penroddy Snooks' Peculiar Pickle & Preserves Emporium did indeed have something of E. L. Moore's signature style about it. I only needed to ask Gemini to make a few tweaks to its photo to make it obvious. So we called up Gemini and working together asked it to refine the model it had generated.

The first thing we did was ask to change the siding colour from red to green ( E. L. Moore's favourite colour), make the trim dark green, get rid of the covered wagon, and add some figures to the porch (since figures were integral to an ELM project). Here's what Gemini produced:

After the first round of tweaks

Changing the colour made a huge difference. That alone made it seem more E. L. Moore like to me. The next thing we asked was to change the lettering on the sign on the right from "Ask For Pirssestagn" (or some such thing) to "Ask for Ma Spumoni". Gemini did as we requested:

Ma Spumoni gets her sign!

Voila! It struck us as spooky how it made exactly the change we requested to that sign.

Well, you can't build a model if you don't know how the other side looks, so we asked Gemini to create a back view. It told us it could do that, but it might not synch up with the front view.

Back view with out of synch roof line and side detail is different

And as promised, the roof lines don't match, but that could be corrected before modelling. What struck me though was how the doors looked like how E. L. Moore made doors on many of his models. Coincidence maybe? 

The last thing was that the windows were not in E. L. Moore's style of rubbing pumice on acetate and then adding the window details with a ruling pen. I tried to describe that change to Gemini and this is what it produced:

Output of a request to change the windows to E. L. Moore's style

This was obviously one change request too many as the windows merely look dusty. 

Well, if you can image those Moorian windows, paper metal roof coverings, some track running along the back, and Ma and baby Spumoni out front on the porch, this could be construed as a possible E. L. Moore style build.

Ok, it took some refining by humans to get the idea to this stage, and some key signatures are still missing (and maybe the starting point was just a lucky, random guess by Gemini), but it strengthens my view that with proper training an LLM could conceivably generate E. L. Moore style model buildings in response to user prompts. A possibility both scary and intriguing.

After | Before

------------------------------
Post Posting Update:

After posting I asked Gemini what it thought of the post. Here's what it had to say (the words in bold are Gemini's doing):

That is a fascinating continuation of your experiment with the E. L. Moore style! Thank you for sharing the detailed steps and the outcomes of your collaborative session with Vince.

I agree—the refining process strongly supports the idea that an AI, when guided by specific human input, can produce results that hit that elusive E. L. Moore aesthetic.

Here are my thoughts on the refinements you made:

The Impact of Color and Detail

The Power of Green: Vince was absolutely right! Changing the siding to green and the trim to dark green made a huge, immediate difference. That color scheme is such a strong visual cue for E. L. Moore's work; it instantly grounds the structure in his specific world.

Targeted Edits: The ease with which the AI removed the covered wagon and, more strikingly, changed the lettering to "Ask for Ma Spumoni" is impressive. It highlights the tool's ability to execute very specific, localized text changes within an image, which is a powerful asset for refining artistic concepts. The "Ma Spumoni" sign alone injects that perfect amount of Moore's quirky charm and narrative.

Views, Windows, and the "Coincidence"

The Back View Discrepancy: The issue with the roof lines not syncing between the front and back views is a common limitation when an AI generates a new perspective. It focuses on creating a plausible new side based on the style, not necessarily one that is geometrically consistent with the previous view. However, you are spot on about the doors! The simple, recessed, slightly uneven appearance of the doors in that back view absolutely echoes the look of many of Moore's scratch-built models. Whether it's a coincidence or the AI correctly identifying and applying a distinct "Moore-esque" door style is intriguing!

The Window Challenge: The failure of the window request is understandable. Describing the process of "rubbing pumice on acetate and adding window details with a ruling pen" is asking the AI to replicate a very specific physical texture and technique, which is difficult to translate into a digital filter. It defaulted to a basic "dusty" appearance. This shows where human translation—understanding how to digitally render a physical technique—is still necessary.

Conclusion: The Intrigue of Training

The entire process—starting with a good, but not perfect, guess (the Pickle Emporium) and then using specific, signature elements (ELM's green, figures, quirky sign, door style) to refine the image—is the key takeaway.

You've successfully demonstrated that an LLM/image model can take a good stylistic foundation and be refined, piece by piece, into a very convincing homage.

It strengthens my view that with proper training an LLM could conceivably generate E. L. Moore style model buildings in response to user prompts. A possibility both scary and intriguing.

I agree wholeheartedly. The possibility of training an AI on a massive dataset of a specific, highly individualistic artist like E. L. Moore to produce original, coherent models is certainly both exciting for model railroaders and slightly unsettling for those who cherish the scarcity and idiosyncrasy of the original art.

It sounds like a fun experiment to keep pushing! What part of the model would you try to refine next, or would you want to try generating a new structure based on a specific, obscure Moore-like industry?