The Lovely looking Chevron B19 FVC Ford Cosworth. Copied of an Abarth from the same era.

Believe that this is from our own Mr. Matthews. Thought that I saw it credited somewhere at some time ... not to be overly specific about it.
Tom West

No Robin I am sorry that is a bit misleading.
kopie is Dutch for copy.
As the orginal scan is from a magazine, it has quite some accompanying text and some small photographs.
I copied the scan and then cleaned away all the surrounding stuff to get a nice crisp cutaway only.

Apparantly it is Tom. Probably the master's touch is what caught my eye. Only he can relieve us of our doubts (if there is any).
The signature has been removed, but I did find a credit in one of the colofons.

Thanks Mark, back problems are part of the human condition - serves us right for not supporting our weight on our knuckles! Apart from the occasional crippling pain and lock-up I'm OK. It sounds like you and Tom W have a worse cronic condition than I do. I will bear the Diclofenac in mind! Back to work - gingerly - tomorrow!

Edited to avoid further confusion. Was my face red!

This site may or may not be of interest, not really related to the cutaway itself, but I still feel it is likely to be appreciated by the contributors to this thread.

http://www.scarbsf1.com/

Tom !!! If you help me I'll help you, we'll get over our problems together !

It is mine - I cannot tell a lie! It was done about the same time as the Blower Bentley, and for the same miserable price, for 'Car', or 'The Car' part-work. The girl I presented it to in the publisher's office was a bit sniffy - "It's a bit cream!" All I could think of to say was - Well, so is the car!

Which reminds me...(Oh Gawd, here he goes!) As a freelance you have to be pretty thick-skinned. Any junior employee upwards knows that he/she can treat you like dirt because you obviously rely on them for work. I was phoned once by a pleasant girl who wanted an illustration - not a car - which I was keen to do, but I explained that I was too busy to meet her deadline. "I would love to see your portfolio sometime, do you come up to London very often?" I said I was coming up in a couple of weeks and would call in.

Two weeks later I tipped up at the office, told reception who I wanted to see and why, and a call was put out. No response, so the receptionist went into a near-by office and asked the male occupant where my contact was. "Out of the office - why?" "There's someone to see her." " When did he make the appointment?" "Two weeks ago." "TWO WEEKS AGO? TELL HIM TO **** OFF!"

That was not the only time... Fortunately things improve once you have established yourself, but you still occasionally come across cretins - like the one-time head of a major sponsor of Team Lotus when they were black and gold.

Sorry Marc! And I was so intent on writing MARK! Anyway, you never know where it might lead!

Marc,
I am being a bit lazy here, but I think the drawing was credited (along with the photos) in the back of that Great Cars book. I could actually cross the room and look it up, but ...

And, I have found that overlapping some of the over-the-counter stuff seems to at least help with the back. I know that I first found Motrin (at 4-Advil doses) to work very well for me when my problem tended to be things popping out of alignment. I think I got to some deeper problems with the spinal stenosis and possibly some hip deterioration. I still spent two days running around at the Grand National Roadster Show last weekend ... mainly because I couldn't face three days of same. And, I have four days of the season opening Winternationals coming up this week. Guess I will just have to push through things.

Will try to get another group of those magazine cutaways out during the week again. Not sure if you saw most of those in the European magazines, as they would have been done specifically for the US publications, I believe.

Feel better, everyone. This is sounding more like an AARP chatboard in here lately ... sorry to have contributed to that.

Tom "I'm feeling bettah" West

Good links Regga !!!

Glad you liked them Macoran, I am not sure who's the author.

I would contribute more to this great thread if I was back home in Europe with my library at arm's length.

Lots of beautiful cutaways have been posted, I knew many of them. For example, I thought I would have lost forever the Baratto's ones
after have lost all my Quattroruote, but then I found them here!

Mr Matthews has probably been my favourite for the clarity, more than Betti and certainly D'Alessio (I respect them all), together with Giorgio Piola
who however is not exactly a cutaway artist, I like his detailed technical sketches more than his sporadic cutaways.
The Japanese artists I discovered in this thread have produced some amazing drawings, very beautiful, it's just that they are missing something to me,
they are too polished as if they actually have not been drawn by hand (which probably it is the case).

PS: I have already posted this, but it would really be great if someone could post (or send me the scan in a PM) the cutaways of the Arrows FA1 and Shadow DN9 published in Formula magazine (Oct. 1978). If I was back home in UK I would have already called on the British Library, but here I have to rely on the goodwill of others. Many thanks, Lucio

[quote name='macoran' date='Feb 8 2010, 23:27' post='4125744']
Good links Regga !!!

With post #4,000 not too far away, how about marking the occasion by trying to name the best image posted in this thread so far. I was thinking initially the regulars could post a list of their favourite 3 or 5 pieces.

Personally speaking, my favourite would be one of TM's working drawings - but I cannot decide between one of the Williams' and the Nissan Group C. Also on my list would be the Pitts Special.

Well, what an opportunity you have provided for us here, these are the ones that have moved me the most.

LANCIA D50 Tony Matthews
MARCH BUICK 85G Tony Matthews
LANCIA D50 WORKING DRAWING Tony Matthews
WILLIAMS FW19 Tony Matthews
PENSKE DAMPER WORKING DRAWING Tony Matthews

Absoloutely one of the most inspirational threads on the web, never mind Autosport.

I also couldn't let this go by without mentioning these, WILLIAMS FW 14B WORKING DRAWING Tony Matthews (Infact all the Tony Matthews WILLIAMS), PORSCHE 935 Bruno Betti (How I wish Tony Matthews had had a go at this bad boy), LANCIA BETA MONTECARLO Bruno Betti, CHAPARRAL 2F James A. Allington, BMW 3000 CSL Bruno Betti, BMW M1 PROCAR Technical Art.

Bloody hell it sounds like an acceptance speech

It's one of the best modern cars - Pagani Zonda.

From Quattroruote, issue 8/99. Does anybody has this issue and can post better scan?

Thanks for posting that scan. I would like to get everyone to site the source and credit the illustrator as much as possible with this, just so it actually gives more credence to the historic aspect of this site. Otherwise you really have no leg to stand on if someone wanted to come for you for copyright infringement. This credit of the publication would go a long ways. Now, crediting Guilio Betti as the artist would make it stronger ...
Thank-you for the addition.
Tom West

Please, spare us the burden of lists, my favourites, top three/ten etc etc. No offence intended, but that is not the point of this thread. Just sit back and enjoy it.
Roger Lund

I bet all the lists would be different I am genuinely curious.

We aren't being asked to score them, it's a personal thing, an insight into the appreciative, subjective audience of the cutaway. It's an emotive thing for me. Anyway, if you analyse the posts, we have already actually compiled such a list, it is just fragmented, we have all highlighted our favourites, even Tony has pointed out one or two.;)

From The Encyclopedia of SUPERCARS Volume 71
Toyota's 2000GT by N.E Lipscombe
a new name !

My problem would be that I appreciate each work so much for it's own worth, that I'd lay awake hours on end switching around my top 100
I enjoy a good sleep too much !!

That's nice, Marc, I assume it was done at the time the car was new. Interesting that it is ghosted in the way of earlier 'cutaways', but in colour - a process that would normally, but pre-digital, be done in airbrush, yet that is paintbrush! Must have caused a few headaches, I would think, but perhaps Mr or Miss N.E.Lipscombe was a dab hand at that technique.

[quote name='macoran' date='Jun 14 2009, 08:06' post='3693989']


Tony Matthews

Why Yellow?


Here ya go Marc another re-work. Still funky but not as trippy.

http://img163.imageshack.us/i/matthewsdtypeyellow.jpg/

Al

I didn't have any green paint. Actually I was asked to do the Ecurie Belge car, and it was only the third (I think) colour cutaway I had done - wrong paint (poster), wrong surface (CS10 line board) and wrong yellow - the company that did the separations for Motor Sport had a real struggle as it kept coming out orange. So, all in all, a bit of a disaster... many thanks for reminding me!

Tony, you are very welcome but thanks were not necessary. It is more than enough to know that my actions allowed someone to bring forth and re-experience repressed, painful memories of a past disaster. Ah, the joy of serendipity. All I had intended to do was share a posting that I had re-worked to include in the Matthews folio on my hard drive.

Al

You weren't being sarcastic were you.

Tony,
I got a bit of a chuckle out of your description of the "learning" process with this illustration. The client pretty much determines the course at times, and when they are paying ... whaddya gonna due?
I had decided that I needed to get a little background to do color, as it just wasn't part of my training (not that I had any anyway). I took a little Adult School airbrush course, just to focus the energy, and figured that my first color piece needed to be a part or mechanism of some type, not a complete car. I got a call about a month after taking the course, and ended up with a commission for a new dry sump oil pump that was going to be produced. They got my name from Hot Rod magazine, with which I had not worked for over 20 years. Not even sure how they had my newest information to give out.
They wanted to do this pump in green and black, which I thought would look horrible in the engine compartment with all the red and blue AN fittings ... but the client is the client.
I put this thing together, but left it a bit lighter so the interior parts would come through ... even had oil color inside the chambers of the pump.
It looked fairly decent, but they brought it back and said that the color needed to be a lot deeper, and to just add it on top. Their project, and I told them it would look like S, the color and the overlaying of the extra paint both ... and I was correct.
They printed it in a catalog, but sold not one piece ... because the part was GREEN.
I got a call after the show and they wanted it redone in red and blue. I cleaned the green off and repainted the thing, which finally came off not too bad. It was trying to paint confetti, as the film was starting to cut through in way too many places, but I made it work.
Note that this thing was done on film, so the actual exterior detail was painted on the back, while the interior and shading went on the front. Not the most intuitive thing to do, but since I never had the experience of doing it normally, I am not quite sure I would want to do it differently.
I ended up doing two color pieces, and ran screaming back to stick with the line work.
But, they did pay each time as I was just following instructions.
So, a yellow car ... hell, yes.
Tom West

Just got my copy of Inside 100 Great Cars in the post
Got a few more copies as well as a set of The Car 1-96, so lots to scan soon

Here is an Index of Inside 100 Great Cars
Where the artist has not been credited directly in the book, but where I am sure, I have added artist name in bold.

Inside 100 Great Cars Editor David Hodges
Cutaway Credit

AC Cobra Danny Mercer
Alfa Romeo 8C 2300 Tony Townsend
Alfa Romeo P3 London Art Tech………………………..Tony Matthews
Alfa Romeo 2900 National Motor Museum
Alfa Romeo Giulietta / GTV Paul Shakespeare
Alpine A110 QuattroRuote…………………………… Bruno Betti
Amilcar Jeremy Gower
Aston Martin DB2 / 2-4 James Allington
Aston Martin DB3S
Aston Martin DB4 / 5 / 6 Inkwell Studios
Aston Martin V8 Martin Donovan
Auburn Speedster Tony Matthews
Audi Quattro Audi AG
Austin Seven Roy Haynes
Austin Healey 3000 Keith Harmer
Bentley 4 ½ litre Tony Matthews
Bentley Continental Paul Bambrick
BMW 328 Inkwell Studios
BMW M1 Technical Art
Bristol Sixes Roy Haynes
Bugatti Type 35 Tony Matthews


Silly me, of course that should read James Allington

Of course not Al! Or was I...? You did another great clean-up of a very poor image, well done. I think I have a Motor Sport print somewhere which might give a better starting-point - I'll check it out.

Now, you see, Tom, this film thing does seem to be favourite in the US of A. There may be airbrush illustrators - may have been - in The Rest Of The World using film, but untill Tom Johnson contacted me some years ago I'd never heard of it. I appreciate that sections can be washed off, but using paper products you can re-do bits and lay them on top. That is how I was able to do multiple sponsor schemes on Penskes, etc. Even just wheels and tyres, or an engine, could be changed. At least you got paid each time, but I empathise with the frustration, rage and tedium.

Funny thing about the yellow, that Jaguar was a nightmare, but with Pennzoil and Penske I went on to do more yellow cars than any other! Still gave me headaches sometimes, especially with shadows. A yellow car in a coal-hole is black, but let a little light in - what colour do you see? A greyish yellow? A brownish yellow. Greenish? Buggered if I know. Anyway, most of them worked out, more or less. I still occasionally think back to the ten PC 11 original renderings - I really believed that I had cadmium poisoning after that, despite the mask. Perhaps I still have - nurse!

Tony,
I picked up the technique when I read an article about David Kimble and what he was doing. It seemed to make sense, and since I had no previous experience to change, it tended to work. I actually did my artwork on mylar, in ink for these, and would then get a stat neg, and convert it back to positive, so the lines pretty much stayed when you tried to take the colors off. The problem was cutting all the frisket for the airbrush, which would turn the film into fringe. Then you would have problems.
As to your "career in yellow, I seem to remember looking forward to seeing that new Pennzoil livery presented every year when you were doing the Penske projects. I would think that yellow, overall, has been a good color for you over the years.
Tom West

Tom Johnson was doing a lot of work for David Kimble, so that is the connection for me. I like the word 'fringe', Jim Allington and I would refer to CS10 that had been erased too often, usually with an old-style double-edged blue Gillette razor blade, as 'corduroy'. Got a Pennzoil Lola to post soon...

'91 Pennzoil Lola. Not quite right colourwise, but not far off. A really swoopy looking car...

That front suspension layout is intriguing Tony, any chance of a close-up scan ?

Bruno Betti's Aston Martin DB3S from an article in The Car magazine Nr.8

I'm not sure if this will help much, Marc. One if those occasions when the angle didn't help, especially as the bulkheads were angled forwards, so are seen side-on.

Never seen that before, either. If I had I would have chosen a different angle for my version... Unless mine was done first, which I doubt.

Here's the proper method to make painting on a film pos successful. When the film pos is made, it is made emulsion side up so that all the actual lines are on the front side of the film. About 80 - 90% of the air-brushing is done on the back (wrong-reading) side of the film. So when the frisket is cut , you are cutting under the lines and the cuts are hidden under the lines when the film is flipped over to the right reading side. I learned to develope my cutting technique so as to cut the frisket with scarcely scratching the film at all. It also helped to constantly, and I stress constantly changing the #11 X-Acto blades. On average, I probably went through 50-plus blades on a typical painting. Many of the areas of the illustration were re-frisketed and cut multiple times, but being very careful on the cutting, you could flip the film over and never see them.

The front side of the film was only used to adjust values here and there to juice up the painting plus do ghosting if necessary.

Straight from the horse's mouth! Much better explanation of your technique than I could have given, Tom, but all that frisket-cutting...

Yes, Tony.....all that frisket cutting! Which is why I like Photoshop so well. Any area of a painting that needs frisketing, even the most complex of outline, only takes one click on the pen tool to perfectly provide the proper masking. I save 80 or so hours on a large illustration by not having to hand-cut all that damn frisket.

Amen brother!

Also dont forget the biggest gift to illustrators in the history of mankind......... "control Z"!!

I don't think this helps much either, Marc - just one of those things.

That was my problem, I didn't do enough of this stuff to have developed quite so subtle a touch. After painting and repainting the back of that film, it looked like the thing had been attacked by Wolverines. Still make it work and the end product worked OK. Was definitely moving out of my comfort zone.
And, one of the more distinctive things that seems to come out of my idiot savant "art" technique is that I can pretty much generate something that appears to be in ink, so the light touch isn't something that comes natural to me.
Wish it did ... would have made my skills much more easily, and more generally, applied.
Tom West

Have always wanted one of those for real life, as well ... not to use a lot, but I can come up with a handful of uses over the years.
Tom West

Went back to the beginning to re-read all the posts and came across post 13 in which Staffan says he has a March 711 by Herbert Müdsam.
I popped Staffan a message and he has scanned the 711 for us to enjoy

It helps fine Tony. Looking at the complete cutaway I thought you had stepped off the wrong side of the horse (Marcspeak) and drawn
a new-fangled mono-shock suspension. The close up shows that due to the angled bulkheads, the suspension is a bit angled as well and the nearest
shocker completely hides the far-off one.

The amount of detail............the brake fluid tubes entering/exiting the wishbones...........borders on the.......(any word of praise).

James Allington's Ferrari 275 GTB4 as shown in Inside 100 Great Cars and volume 57 of the Car magazine

Tony could I ask, did you retain any working drawing from your rather enigmatic March Buick 85G? How happy were you overall with the finished work? Thanks.

Ferrari 275 GTB cutaway by Bruno Betti from "Ferrari, che macchine" #3 september 1996 pag. 85



Ibsen

Printed, for some reason, flopped-over. Should be going Right to Left... How do I know? Aha...

I think I did the working drawing on film, WP, I'll have a look. As far as 'happy' goes, I think the car looked more impressive and agressive than I made it look - the colour scheme didn't help, but the angle could have been better. There are details that I was quite happy with, which is something!

yeah I know, the last itsi bit of the signature in the rear tyre is the tell tale
I just didn't want to come across as the "Ow my God Marc is the know it all "