I'm sure there are worse jobs, Tom, but really, how many of these do you want to do?



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I guess the insomniacs could count seats instead of sheep...

Very true! As an indication that a simple illusration can be a pleasure to do, here is a Penske 7300 Series damper - the chance to draw small items quite large and get the airbrush out. This was done the same size as a car or engine cutaway, as the original was destined to be framed and hung in the Penske Shocks emporium, along with it's partner, posted earlier. It meant the knurling and surface finish could be done in some detail.

Tony, I have had some things along that line at times, but they were so far apart that they weren't overly boring at the time. Been lucky at times with this .. of course, I would never have made a living from it either.
Tom West

Interesting, since the first piece I ever did with an airbrush was an adjustable street shock absorber. Did it as my project for the second half of a little 8-week adult school class, the first half of which was spent blowing bubbles with my Iwata airbrush. The shock was a trial just to see how to do this stuff. It would not be something that I would show, but it showed me a little control over the color, which I tended to lay on too heavily, and various things. It ended up looking OK, but I threw it away after we finished the class. I ended up with another piece about 6 weeks later of a dry sump, multistage oil pump that came out pretty well, considering I had never done another piece in color prior to that.
Tom West

1985 MG Metro 6R4. Artist unknown.

1949 Kurtis-Kraft 3000 Offenhauser. Artist unknown.

Coventry-Climax FWMV engine by Porter.

The Napier Nomad: sufficiently complex to have required the work of three cutaway artists!

Lovely! Something to get your illustrating teeth into!

Obviously the piston engine is used for normal forward flight, and the gas turbine in the event of a frontal attack.

Happy memories!

The speculative cutaway of Sukhoi PAK-FA T-50, the new Russian steath fighter, drawing provisional by:
"http://Planeman-bluffersguide.blogspot.com"

Is it me, or is this quite a unique viewpoint to have been used by Porter for this kind of thing? I really like it. It is almost as if he has just sort of erased the car from its surrounded engine.

Dunno about unique. Most cutaway viewpoints, particularly for engines, are a bit of a compromise. This angle works well for certain aspects of the internal gubbins, not quite so well for others. It also depends on how the illustration originated - if it was based on one supplied photograph from that angle, and the deadline was tight - almost a given - then there wasn't much option. There are two ways of approaching an engine cutaway, use an overall shot as an outline and work inwards, or start with a blank sheet of card and work outwards from the crankshaft centreline. If you do this you have complete control over placement of vital bits, if you are able to take your own photographs, and you have some co-operation from the guys in the engine shop, you can choose the angle, even take several slightly different ones and choose the most appropriate later. You just have to be able to look through the viewfinder and check that the crankshaft, a camshaft (where there is one) and auxiliary drives are not all on the same centre-line.

If you have an end elevation, you can pick a path, the 'sight-line', for want of a better term, that misses all the important bits. That gives you the angle from the side, you can then choose an angle from thre front that works well, and Bob's your monkey's uncle. It's always nice to have a drawing or two, even just a three-view GA, but it can all be done without if necessary - just more headaches.

I am sure I've seen Tony "Pencils" Mathews contributing to this Forum, so maybe he'll pick up on this thread. When I was at CSS we commissioned Tony to do many cutaways for clients like JPS and even some some non-motorsports subjects. Seem to remember he did an oil ring for a Texaco magazine we produced. In my office I have his original of a Durex Surtees and several other originals including a JPS Lotus 79.

Tony is a fantastic talent aand although he has always called them technical drawings , I believe they are true art.

I haven't seen him in ages , but when we were youngsters at Motoring News, he was quite a holigan when you got him down the pub. Great guy and tremendous talent, wonder if he ever finished restoring that bubble car he started on 25 years ago !

Now I see, he is contributing. Pencils you#re a star.

Hello old chap! What a pleasure! Many happy memories, and I know going off-thread is not encouraged, but I'm sure I'll be able to slip the odd bit of memorabilia under the radar! I sold the bubble-car, and miss it a bit, but I had too many projects on the go, including a divorce, so the bubble has gone up, up and away... Still got too many projects, come to think of it!



That'll have to do, before I get into trouble.

Seeing the old Ford again has reminded me of a story I heard back in the 70's. There was a competition to see how many cars some women could put between their legs. The winner was a woman with 2000 Corsairs. Bit of a play on words there. I hope it brightens your day.

I bet the wind whistled when a Zephyr was passing...

xxx

Hi mm64, I can't find your original post, I think it was of the same car but with less detail - in which case you have been busy! Well done!

Yay Madmad64! Something modern!

Tony, While I have always had these images of your complete excellence in all efforts artistic, I find it interesting that you indicate that this might not be so. I pictured you emerging like Venus on the Shell in fully formed skill and talent, as this is what I saw when I first noticed your work. To think that you had to figure out that damned airbrush really rocks my world.
I can still remember coming home after three weeks at this little course that I took, and not having been able to get just the lines and swirls exercises done, while everyone in the place was on doing other projects. Came home after that third class (taking about 4-hours each), and telling my wife that I was going to have a talk with that damned airbrush and was going to do this before the night was over. Went upstairs, set up everything, and had a further talk with the airbrush. Said that I hadn't paid all that much for it, and it could be easily replaced. Fired it up, and it worked, and never stopped.
Easy as that. Of course, my skills with it were pretty marginal, so I worked on that, but never had that lack of confidence over whether it would again work.
If I misinterpreted your comment, and you actually never had the problem, I am sorry .. thought we had a connection at a point of incompetence; somehow a special connection ...
Tom West

Think I can hear the flapping from here ... sort of a raspberry type of sound, isn't it???
Tom West

Of course I had problems Tom, I may indeed have arisen in the form of a slightly hirsute Venus, and the shell more like a coracle, but all I used an airbrush for initially was applying flat colour. This graduated - oops - to variations in tone, then masking and trying to get some definite form. The breakthrough was reading about maskless, free-hand airbrushing, and loose masks. That took a while to - well, I nearly said 'master', there's no way I am a master of the airbrush - get some sort of handle on it, and my ability, such as it is, got me by. Not without sweat, fear and trembling, mind you, and sometimes several attempts. When I started the Ilmor Mercedes 500I cutaway, a day and a half pressing through and half a day's airbrushing went in the bin. The top of the plenum chamber still upsets me when I see it, and as it is on the wall outside the bathroom, it upsets me frequently. Hooray for a fully-functioning prostate and bladder, or the picture would have to move. The thing is Tom, I don't give up easily, unless it is a digital process, when quite frankly I just don't care.

It does help to have small, less important illustrations to practice on, as I rarely felt inclined to do a test piece just for the hell of it, but every time I improved on a small job I thought, I can do better on the next BIG job.

the car is draw in photoshop and it can be upgrade but i don t like it
in this little image a render whit pod a right side of steering
but i hate this cut

More like the moist rustle of a flounder escaping the inquisitive whiskers of a hungry walrus - the silken sigh of the skin of the eel as it succumbs to the deadly jaws of the reed trap - the falling note of a newly-ringed piston as it descends a freshly honed and oiled cylinder - the frantic thrum of a startled pheasant, but without the hoarse, raucous screeching, unless she's got a serious problem...

Gents, I'm a bit stressed for time. Mother at 88 needs quite some attention
then there is the family brigade of youff occupying pc-s, so I can't access me scanner
I am keeping track through the office pc so iI know everbody is doing a great job posting, werks and helio are the new beasts on the block !!
Bizznizz here is great .Just to contradict most bizznizz news we are hitting 200 % greater turnover and profits compared to 2008 !!
I'll be back with good Allington/Berris and Hatton stuff, can't find find any more of this Tony guy's stuff anymore......just bear with this posting dip I am having
all typo errors are due to th e two Singha beers I had so ..........E&EO... or whatever they say in the official stuff. .. brrp

Tony.. what poetry!......you write as you draw !, just imagine the silken skin of an eel escaping THE INQUISITIVE WHISKERS OF A HUNGRY WALRUS
scary ? hmm happens everyday !! hahah............you have a way with words as you have with paintbrush strokes!!!
Matthews ! is he a poet ? an artist ?.....or a gift to us ?

Yes, very much more melodic and evocative than my crude description. I was more going for concise, I think.
I have to say that if this situation exists, it will be much larger and slower vibrations than most of what you describe .. but this is more enticing, I admit.
Notice that nobody else is touching this subject ...
Tom West

there is a signature - looks like "... Jones" to me, but not one of the Jones that I know

By simplebrother at 2010-11-17

This is a B&W version of a colour cutaway by Terry Harmer and AN Other - I cannot remember the other illustrator's name - and I think this is Terry Harmer's work. I assume that one did the drawing, the other the colour, but I could be wrong. Any road up, the white-on-black squiggle looks like 'Harmer' to me. I could be wrong...

I think the double act is Harmer and Allerston. (Of RS200 fame no less).

Nah! not me. Merely keeping it ticking over, until you and Tom get back to opening up those folders again. (Besides, gaining much, much more than I could ever contribute).

Alfa Romeo eight-cylinder 'Monoposto' P3 Race engine. By Leslie Cresswell.

Confirmation that the racing engine posted on page 167 is indeed by the hand of Cresswell, via this red 'highlighted' version.

AJS 7R single-overhead-cam engine. (Rather painterly) By Terry Collins.


AJS 'Big Port' 349cc. 1923. By Bruno Betti. Not a cutaway. (It seems he did an awful lot of bikes in this way).

A 'lump'. Rolls-Royce Silver Ghost engine. By Max Millar.

These are for Cam2InfoNeeded



Hope they are of some help!

(P.S, Doug, I checked out your site, http://dougswitz.com/ExotoPorsche91730Cam2ModProject.aspx It is interesting what you are trying to do there, but it is a shame that you have to do it in the first place, if you know what I mean, in light of the levels of accuracy advertised by said company. I reckon you should just present them with 'your' version as soon as it is done.)

Osella FA1C by Paolo D'Alessio



TNF Cutaway Index - updated - page 170 - post 6776 => part A - post 6777 => part B

Excellent engine in 1907, but by 1926...?
Reminds me of the Mortein advertisement - "when you're on a good thing, stick to it", but not for too long: the Holden red motor went on and on when much better donks were produced for the same body shell in the UK & Europe. Plenty of similar examples with other makes.

Er, thanks to the proficiency of the illustrator you can see the gear drive from the gas turbine heading up to the infinitely variable drive which feeds the turbine's power into the propellor.
If you think of the gas turbine bit, between the compressor and the turbine the main diesel engine acted as the combustion chamber . . .
Getting one's head around the Nomad II has always been difficult, but that drawing shows it was not impossible.

I hope you didn't think my post was anything other than a feeble joke, Allan. A fascinating engine, not one I was familiar with, and I would have loved to have illustrated it. However, you can only do what comes your way...
The three illustrators involved - I can't make out their names, but Marsden might be one - did a fine job.

i thought it funny because it expressed my inability to make head or tail of it pretty well, myself.
i think it's the 'multiplicity of image' that is going to require a great deal of quiet contemplation at maximum enlargement - and a lot of concurrent reading and research.
( just the thought of the sabre still makes me queasy, and a certain bristol brings on nightmares....)

Dunno about 'Bristols' bringing on nightmares...

...but then you have to know some Cockney rhyming slang!

(wasn't there a dream sequence in a Woody Allen,being chased, a la goodies, by a giant disembodied...) no, you're right it was no bristol - this thing that which i now can't identify - looks like a HR Giger piece - would be terrifying in the right chiarascuro ...

My mum used to have one of those - it's a 'Spong' mincer. As you can see, you clamp it to the kitchen table and it transforms offcuts of tough meat into tough mince. God, the '40s and '50s were fun...

Thanks once again Ibsen for such diligence!

(Despite the reality of the situation, my brain insists that your avatar has also recently morphed into a Harrods liveried McLaren. (And that is no reflection on your drawing) There is nothing I can do about it.)

My avatar changed to the Angi Munhoz's Porsche 907 of Bino Motoradio Team (Brazil).

Rolls-Royce Silver Wraith. By John Ferguson.

Spot on, Alan - my attitude to the Nomad has become.. what a magnificent piece of mechanical complexity and engineering but - why bother with all those heavy & hot bits whizzing back and forth just to generate hot gas for the turbine! Chuck 'em, and equip it with proper combustors!
I think one experiment(?) tried with it was to inject extra fuel into the turbine for extra power - at the expense of what the whole thing was aiming at: lowest possible specific fuel consumption. Ah, Napiers: something very special indeed.