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The cutaway drawing and its artists


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#7501 CVA

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Posted 18 January 2011 - 07:27

Ferrari 640 and 641 by Paolo d'Alessio

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#7502 Robbie693

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Posted 18 January 2011 - 12:44

Not mine, old chap, not my style, specially the stippling! Also it has 'K' in the corner, it would have had 'A', with the top of the 'A' filled in, like you did in your school textbooks. You didn't think I knew that, did you? We've been watching... Come to think of it, Lotus had an in-house illustrator by then, we just did the Owner's Manual and cutaway, then no more Lotus work.


Ah I see, I did wonder why the style was different - looks a bit isometric too. I'd have thought that the two manuals would have been done at the same time to save costs, this is Lotus after all! Some of the parts manual illustrations are lifted from the workshop manual, such as this one:

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Wonder if they paid for the re-use?!

Robbie

#7503 Tony Matthews

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Posted 18 January 2011 - 13:25

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Now that does look like 'Allington Studio' style, even looks like mine, but I have absolutely no memory of it. Ooh, a puzzle! It could be Jim's, but I don't recall seeing it...

Some minutes later:-

I've found my job-book for that period, there are several weeks of LOT50/PL/** job numbers, so I'm probably wrong about how much we did on that project, and I'm confused by the 'K' and 'C' reference letters. After May 1968 we went from individual job books to work sheets, and I couldn't be bothered to keep a second, personal diary, so it could have been done after that, not by me (although I still think it looks like mine) or when I was off for a couple of weeks with measles in April. Measles when you are 24 ain't fun.

There are also LOT36/OH/** jobs, so we were still doing work on the Elan, alongside the Elan Plus Two, GT40 and various Ford tin-tops.

When I was at LAT I did keep a personal job book, thankfully, as it is a good aide memoire.

Wonder if they paid for the re-use?!

You're joking!

Edited to say that I was too quick in assuming the RH corner letters were studio 'signatures', they only refer to the section of the parts list! It was FMC illustrations that had studio letters, specifically for apportioning blame if there were errors...

Edited by Tony Matthews, 18 January 2011 - 16:33.


#7504 Tony Matthews

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Posted 18 January 2011 - 16:38

Just a quick point for everyone to consider, but we just passed 7500 posts on this Board. I had noticed that we were getting close, but then spaced it and missed the big moment. Amazing when you think about his not exactly being pop culture here ...
Thanks for everyone's participation. Some of the "tech" articles have really been interesting of late, and the fact that these illustrations keep falling out of the overhead is quite special. Keep it going everyone.
Tom West

Quite right, Tom, yet another milestone on the highway that runs through Cutawayland! Where will it all end?

#7505 Robbie693

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Posted 19 January 2011 - 10:40

Edited to say that I was too quick in assuming the RH corner letters were studio 'signatures', they only refer to the section of the parts list! It was FMC illustrations that had studio letters, specifically for apportioning blame if there were errors...


Oh yes - I realised the letters were plate ref's when I re-looked at the manual but forgot to mention that in me post. Sorry Tony - could have saved you some head scratching!

QUOTE
Wonder if they paid for the re-use?!

You're joking!


On a similar note - I have always been under the impression that copyright/ownership of artwork remains with the illustrator and have tried to keep original artwork where possible but most clients are unaware of this and are incredulous when I tell them that they are paying for the right to use/print only and that I want it back. If they get too upset about it I usually let them keep the artwork but I'd rather it was with me than stuck in someone's drawers somewhere. I did a job for Bentley when the (then) new Continental GT came out and mentioned to my client that I'd like the original back. She said that the "head guy" at Bentley (dunno if that was of the particular dept. or Mr Bentley or whoever) was so pleased with it he'd put it on his wall. I didn't feel like I could argue after that..

Seems there are quite a few contributors on here that are or have been in the profession, can I ask everyone - do I have this right? Does everyone else manage to keep the artwork?

Cheers

Robbie







#7506 scorerr770

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Posted 19 January 2011 - 10:49

Oh yes - I realised the letters were plate ref's when I re-looked at the manual but forgot to mention that in me post. Sorry Tony - could have saved you some head scratching!



On a similar note - I have always been under the impression that copyright/ownership of artwork remains with the illustrator and have tried to keep original artwork where possible but most clients are unaware of this and are incredulous when I tell them that they are paying for the right to use/print only and that I want it back. If they get too upset about it I usually let them keep the artwork but I'd rather it was with me than stuck in someone's drawers somewhere. I did a job for Bentley when the (then) new Continental GT came out and mentioned to my client that I'd like the original back. She said that the "head guy" at Bentley (dunno if that was of the particular dept. or Mr Bentley or whoever) was so pleased with it he'd put it on his wall. I didn't feel like I could argue after that..

Seems there are quite a few contributors on here that are or have been in the profession, can I ask everyone - do I have this right? Does everyone else manage to keep the artwork?

Cheers

Robbie


My understanding is if commissioned to provide artwork then they own copyright unless stated in contract for the work. Otherwise customer pays for work and illustrator can then use it again for more money i.e. prints etc.

Even more of a grey area possibly when work is done digitally as illustrator would send dvd/disc to customer with artwork on compared to traditional methods of an airbrush original which would have to be handed over for scanning to be used i.e. book/print.

Always happy to be corrected :)

#7507 Pat Clarke

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Posted 19 January 2011 - 11:01

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Suzuki 50, Three-cylinder, Two-stroke. By Paolo Riccioni.



For the life of me I cannot make head or tail of how this engine works :confused: :confused:

Pat

#7508 Tony Matthews

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Posted 19 January 2011 - 11:36

QUOTE (Robbie693 @ Jan 19 2011, 10:40)
...could have saved you some head scratching!


A bit of head-scratching is good for you!




On a similar note - I have always been under the impression that copyright/ownership of artwork remains with the illustrator and have tried to keep original artwork where possible but most clients are unaware of this and are incredulous when I tell them that they are paying for the right to use/print only and that I want it back. If they get too upset about it I usually let them keep the artwork but I'd rather it was with me than stuck in someone's drawers somewhere. I did a job for Bentley when the (then) new Continental GT came out and mentioned to my client that I'd like the original back. She said that the "head guy" at Bentley (dunno if that was of the particular dept. or Mr Bentley or whoever) was so pleased with it he'd put it on his wall. I didn't feel like I could argue after that..

Seems there are quite a few contributors on here that are or have been in the profession, can I ask everyone - do I have this right? Does everyone else manage to keep the artwork?



My understanding is that ownership of the original artwork and copyright are seperate issues - ownership relies on your relationship with the client, their wants and needs, and their attitude! I used to let artwork go, assuming that was what I was supposed to do. However, a series of articles and letters in the Association of Illustrators (?) newsletter made me realise that that was not the case. In the '80s I started holding the originals back, but it was not until '84, when I was commissioned by John Player via the Ted Bates agency that I formalised it, as I had to fill in a legal-looking quotation document, and I added "Original artwork to remain my property unless a seperate financial agreement is reached", or words to that effect, and to my mild surprise that was just accepted. Thereafter it bacame the normal proceedure, and either I have sold originals seperately, or a deal has been done at the time of commission. Only once since then has an original escaped, but that was when I was under a lot of stress and took my eye off the ball...

With my American clients I stated that the quote included "all rights, in perpetuity', as it made the price look better value - also, it meant they didn't have to keep contacting me every time they wanted to use the artwork again, or in a different way, such as mugs or T-shirts. It seemed to work... With spec. work, it has been a case of a reproduction fee, and copyright details printed with the artwork.

(scorerr770 @ Jan 19 2011, 10:49)
My understanding is if commissioned to provide artwork then they own copyright unless stated in contract for the work. Otherwise customer pays for work and illustrator can then use it again for more money i.e. prints etc.



I agree with that.


Even more of a grey area possibly when work is done digitally as illustrator would send dvd/disc to customer with artwork on compared to traditional methods of an airbrush original which would have to be handed over for scanning to be used i.e. book/print.


Yes, the 'original' really only exists in cyberspace, or on a hard-drive, so it has a different meaning, I suppose. This is not an area that I know anything about, but I would think that the basic copyright rules still apply - it can only be used by the client who agrees a fee, and only for specified purposes.

One of the problems of not giving the copyright to a client is that if anyone else uses it you have to chase them, usually resulting in anger, frustration and no money, whereas if it is the client's right, they have to do the chasing! I don't know what it's like now, but a few years ago the last thing you wanted was Phillip Morris hunting you down like a dog.



#7509 Tony Matthews

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Posted 19 January 2011 - 11:40

For the life of me I cannot make head or tail of how this engine works :confused: :confused:

Pat

Hello Pat. Well, if you can't fathom it, it obviously doesn't work! As it isn't a cutaway there is no way of working it out. That's a bold claim about specific output, I think there are model aero engines that are similar, and might beat it.

#7510 Tony Matthews

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Posted 19 January 2011 - 22:42

I have found it amazing how all of the transition started taking place to digital scans probably 12 years ago. I had been using a place in Westlake Village (west of the San Fernando Valley), but I ended up being the only one who used their stat neg facilities. The last time I was in there they were using it to store bikes and crap out of their home garages ... you almost could not get to the thing.

It was about 10 years ago that a local firm let me know that they were selling/discarding their big process camera, and would I like to have my B&W cutaways scanned. The MD knew that I did not have the original litho negs from Motoring News, they were thrown out or lifted in the week after I left. I know that, as in that week I summond up the nerve to go back and 'rescue' my original artwork, and the 16"x12" negs had gone. He gave me a fair price per shot, but it still added up to a lot of money, at a low time financially. I would have had 20"x16" and 20"x30" negs done, so I could produce full- and half-size contact prints of superb quality if - IF - there was ever a demand. Ho hum. Camera gone, probably no film available, possibly no chemicals (but I could be wrong), and anyway, not a lot of interest.

Same thing happened with a friend's Grant projector, but that was less of a problem, as I anticipated it and got my darkroom up and running, although 20"x30" prints were a fiddle, projected onto the floor, 5 minute exposures or more, and done in two halves as it was impossible to accommodate large enough dishes. One does one's best... The Grant was relegated to the semi-basement of my friend's office, where, in a very short time, it was half-hidden by mountain bikes, redundant furniture and filing cabinets, a shadow of its former self, a hammer-grey sheet steel laviathon, cold and lonely, and worried about rats.

#7511 macoran

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Posted 19 January 2011 - 23:21

where, in a very short time, it was half-hidden by mountain bikes, redundant furniture and filing cabinets, a shadow of its former self, a hammer-grey sheet steel laviathon, cold and lonely, and worried about rats.

Oh my gosh, I think my shed.....euhm, phh maybe I shouldn't tell...

#7512 JoeKane

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Posted 20 January 2011 - 02:47

Here is an interesting resource I found while looking through some modeling pages. Rob de Bie is a Dutch model builder who has put together a really nice index of cutaway drawings listed by source publication. His index has over 2,900 items listed for all topics and includes the artist where known. Click on the race cars header for a nice read. Be sure and check out his modeling pages as well.
Joe

http://www.xs4all.nl...ay.htm#racecars



#7513 jayban

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Posted 20 January 2011 - 11:12

Hi Jeremy,

We haven't spoken for a long time. Did we work together at Lonsdale or Polygraphic? Good to see you are still illustrating. Some have stuck it out but it's getting tougher by the minute. A lot have become tech authors.

regards

Terry



Hi Terry

It must have been Lonsdale in Fareham.

I have lost contact with all of my colleagues from back then - I moved on to BAC in Weybridge - then on to Honeywell Bull in Paris for a couple of years and then turned freelance in the West End - now living and working in Bedfordshire.

Most other artists I know/knew! ran off to do other things when the computers appeared but I 'saw the light' quick enough to see the inevitable and fortunately got to grips with it.

Are you still illustrating?

Jeremy

#7514 jayban

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Posted 20 January 2011 - 11:30

Nice to hear from you Jeremy, I remember yourself, Rob Brill, Roger Farrington and Steve Alcock, but I cannot place the other names.
The other lecturers I remember were Gerry Tucker and Mark Way

Tim Hall


Yes - Gerry Tucker that was him - Yorkshire accent and a withering stare! and yes of course Mark Way - he had only been there a couple of years when I started - do you remember John Minot as well - taught 'measuring point perspective' and freehand drawing.

Jeremy


#7515 Flightlinearts

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Posted 20 January 2011 - 12:31

Yes - Gerry Tucker that was him - Yorkshire accent and a withering stare! and yes of course Mark Way - he had only been there a couple of years when I started - do you remember John Minot as well - taught 'measuring point perspective' and freehand drawing.

Jeremy

Do you remember Laurie Seaton, and the bloke who did evening airbrush tuition - a Mr Summerfield. Those were the days - playing catch the jam jar, when he was out of the room!!

Tim Hall



#7516 scorerr770

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Posted 20 January 2011 - 13:56

Yes - Gerry Tucker that was him - Yorkshire accent and a withering stare! and yes of course Mark Way - he had only been there a couple of years when I started - do you remember John Minot as well - taught 'measuring point perspective' and freehand drawing.

Jeremy


Ah names from the past albeit not as far back as some. Mark Way head of T.I. (retired last year) once Don Spetch retired after my first year. John Minot freehand and M.P. until my second year and retired replaced by Doreen Mitchel for M.P. Airbrush evenings taught be Bob (Robert) Wright who became full time and at Portmouth Uni still teaching illustration, who took over the art college. Roger (can't remember surname, 'edit' might be Farington) small bloke with beard stayed on at the college straight after finishing college.

I work now with a guy who was at college ten years before me so left around 1976 called Mike Burberry. Say no more :rotfl:

Best four years of my life (BTEC and DATEC courses) first students after City & Guilds stopped.

Edited by scorerr770, 20 January 2011 - 13:58.


#7517 JoeKane

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Posted 20 January 2011 - 15:58

History Alert.

The Rodder's Journal, upscale American hot rod mag, has an artist profile article on Rex Burnett in issue #49, which I believe is the most recent issue.
Blurb on the article says that along with history on the man himself they show never before published pencil sketches and the process of producing the finished work. Sounds like a very interesting addition to my History of Cutawayland collection. I'm on the hunt for a copy as I'm not a subscriber.

In addition, Rodder's Journal is offering a set of 6 Rex Burnett prints for $100. Numbered and limited edition - yes but of 2,000 sets, which strikes me as pretty optimistic.
The price certainly seems very reasonable. Even with shipping that comes to less than $19 per print. I have ordered a set and will let you know what I think when they arrive.
Here's a link to the description of the prints:

http://www.roddersjo...a...=page&id=44

Cheers.
Joe

EDIT - I cannot recommend this set of prints at this time. See my experience in post #7723, 28 January 2011
Joe

Editted to align post number with changing post locations as the board is dropping posts just now.... odd...

Edited by JoeKane, 29 January 2011 - 19:13.


#7518 TWest

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Posted 20 January 2011 - 19:48

History Alert.

The Rodder's Journal, upscale American hot rod mag, has an artist profile article on Rex Burnett in issue #49, which I believe is the most recent issue.
Blurb on the article says that along with history on the man himself they show never before published pencil sketches and the process of producing the finished work. Sounds like a very interesting addition to my History of Cutawayland collection. I'm on the hunt for a copy as I'm not a subscriber.

In addition, Rodder's Journal is offering a set of 6 Rex Burnett prints for $100. Numbered and limited edition - yes but of 2,000 sets, which strikes me as pretty optimistic.
The price certainly seems very reasonable. Even with shipping that comes to less than $19 per print. I have ordered a set and will let you know what I think when they arrive.
Here's a link to the description of the prints:

http://www.roddersjo...a...=page&id=44

Cheers.
Joe

Joe,
That Rodders' Journal was just replaced with the new one ... went to Autobooks in Burbank yesterday for the first time in about 9 months and saw the new one, so expecting the sub copy to arrive. If you want to pick up issues of RJ, they are available at Borders or Barnes and Noble, if there is one handy.
By the way, if any of you get to the LA area, take an hour or two and stop into Autobooks in Burbank, on Magnolia between Hollywood Way and Buena Vista. They have one of the best selections of automotive books around ... at least that I have ever seen. Some old stuff, too ... they had all of the Haynes Manuals that I had pulled to copy the covers .. and they were out on the shelves for the first time. I guess the new owners were trying to figure out where all the weird old International car Manuals had come from, but figured they weren't going to sell them out of the back room. They were amazed to hear how they had gotten there.
Anyway, check out the Rodders' Journals, might even want to get a sub on it. Probably my favorite car mag at the moment, even if it tends not to have a lot to do with cutaways generally.
Tom West



#7519 TWest

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Posted 21 January 2011 - 00:22

Going to throw in a couple of quick cutaway scans from that Haynes collection that I put together. This one is the Austin Metro from 1980, by Terry Davey.
I have to think that this was a real treasure realizing this was available, and that I could get my hands on the manuals to get the copies. Where else are you going to get all these plain Jane cars in a cutaway ... everyone wanted the Ferraris or the Formula 1 cars, which are certainly more interesting, but when you take these as a representation of the more mundane daily drivers that we all had to deal with, this is quite something.
Sorry, drifted a bit there ...
Tom West

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#7520 TWest

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Posted 21 January 2011 - 00:24

Another basic car for you, the Austin Mini from Terry Davey.
Tom West

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#7521 TWest

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Posted 21 January 2011 - 00:25

One that we would not have seen over here, the British Leyland Princess 2 from 1979. Another Haynes cover for Terry Davey.
Tom West

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#7522 TWest

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Posted 21 January 2011 - 00:27

And, talk about ubiquitous, how about a British Leyland Sherpa. Would this be considered a service van, or what is this supposed to be called? A Terry Davey illustration of the 1979 vehicle.
Tom West

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#7523 Robbie693

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Posted 21 January 2011 - 10:31

Would this be considered a service van, or what is this supposed to be called?
Tom West


Hi Tom,

Over here they're just called Vans. Unless they have windows, in which case they're called mini buses. Or latterly MPV's!

Anyone know what happened to Terry Davey? I found this and copied it (rather naughtily):

Posted Image

Robbie

#7524 Robbie693

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Posted 21 January 2011 - 10:42

My understanding is if commissioned to provide artwork then they own copyright unless stated in contract for the work. Otherwise customer pays for work and illustrator can then use it again for more money i.e. prints etc.


My understanding is that ownership of the original artwork and copyright are seperate issues - ownership relies on your relationship with the client, their wants and needs, and their attitude! I used to let artwork go, assuming that was what I was supposed to do. However, a series of articles and letters in the Association of Illustrators (?) newsletter made me realise that that was not the case. In the '80s I started holding the originals back, but it was not until '84, when I was commissioned by John Player via the Ted Bates agency that I formalised it, as I had to fill in a legal-looking quotation document, and I added "Original artwork to remain my property unless a seperate financial agreement is reached", or words to that effect, and to my mild surprise that was just accepted. Thereafter it bacame the normal proceedure, and either I have sold originals seperately, or a deal has been done at the time of commission. Only once since then has an original escaped, but that was when I was under a lot of stress and took my eye off the ball...

With my American clients I stated that the quote included "all rights, in perpetuity', as it made the price look better value - also, it meant they didn't have to keep contacting me every time they wanted to use the artwork again, or in a different way, such as mugs or T-shirts. It seemed to work... With spec. work, it has been a case of a reproduction fee, and copyright details printed with the artwork.


One of the problems of not giving the copyright to a client is that if anyone else uses it you have to chase them, usually resulting in anger, frustration and no money, whereas if it is the client's right, they have to do the chasing! I don't know what it's like now, but a few years ago the last thing you wanted was Phillip Morris hunting you down like a dog.



Thanks both for clarifying, I guess I was partly correct, just need to be tougher about getting the artwork back then. I've never really used contracts, mainly because most of my work is via design agencies and they never seem to be bothered about that. Even purchase orders are rare! Definitely worth doing if I get any direct work though.

Cheers

Robbie



#7525 JoeKane

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Posted 21 January 2011 - 16:31

Thanks Tom.
Guess I'll have to be checking the used magazine sellers for a copy or order a back issue. Also good to hear your enthusiasm for the pub. I have heard of Autobooks but have yet to visit them.
Joe

#7526 Tony Matthews

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Posted 21 January 2011 - 17:46

I've never really used contracts, mainly because most of my work is via design agencies and they never seem to be bothered about that. Even purchase orders are rare! Definitely worth doing if I get any direct work though.

I mostly worked without formal contracts, in fact only once was there ever a mention of a lengthy contract, when Beatrice Industries were going to do a five-year deal or summat, but that never materialised due to a CEO change, and advertising monies re-directed. Bastards. However, most sizeable companies will insist on issuing a purchase order, and that is when you can state your conditions, or query theirs. The client does not, as far as I am aware, have automatic right to the original, even if they say they have - indeed they may believe that they have... The object is, of course, not to let your baby out of your sight, and provide a file where possible, but don't forget to include the cost of this in your fee, unless you are charging so much that the cost of the scan and any Photoshopping is insignificant, in which case you can impress the client with your magnaminity. Actually, assuming they have swallowed the cost, all they will care about after that is you meeting the deadline. It is a good idea to have something in writing, or it could end in tears. "We never asked you to do it!" "Yes you did, I spoke to Mr Thompson on the phone in January!" "Thompson? Thompson? Julie, have we got a Thompson on the staff?" " Not any more, he left a week ago..."

I don't know how many potboilers and bodice-rippers dear, dear Dame Barbara Cartland wrote, but each one had a full-colour front cover, all done by a small group of underpaid artists/illustrators, and I have seen an interior photograph of her house, the deep pink walls almost hidden by the framed originals that she refused to return to their rightful owners, who hoped to raise a little more cash by selling, or just wanted their paintings back.

Edited by Tony Matthews, 21 January 2011 - 17:47.


#7527 50cc racer

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Posted 21 January 2011 - 18:08

Posted Image
Suzuki 50, Three-cylinder, Two-stroke. By Paolo Riccioni.


Had to react on this one - Very bad interpretation of the Suzuki triple! Although not an engine of appealing esthetics, it certainly deserves a better drawing.
Anyone up for the task :)

Posted Image Posted Image

Thanks for a fine thread and many enjoyable cutaways :up:



50cc racer


#7528 Tony Matthews

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Posted 21 January 2011 - 18:18

Had to react on this one - Very bad interpretation of the Suzuki triple! Although not an engine of appealing esthetics, it certainly deserves a better drawing.
Anyone up for the task :)

Posted Image Posted Image

The original illustration, apart from not being a cutaway, is just a line version of that first photograph, which is meaningless - it could be a washing machine motor and pump assembly! The second pic is much better, now you can see that it is a V3 of about 110°, at a glance - fascinating... Where's me pencil? Oh, no, I've stopped!

Edited to say I suppose it is 120°, but it doesn't look it to me.

Edited by Tony Matthews, 21 January 2011 - 19:44.


#7529 TWest

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Posted 21 January 2011 - 19:23

Hi Tom,

Over here they're just called Vans. Unless they have windows, in which case they're called mini buses. Or latterly MPV's!

Anyone know what happened to Terry Davey? I found this and copied it (rather naughtily):

Posted Image

Robbie



Robbie,
Thanks for posting the photo of Terry Davey. I would have had no idea what he looked like, since all of the Cutaway illustrators tended to fit a stereotypic mold ... :)
Cool to be able to relate things to a face at times, and we seem to be building up a file of those photos.
Also, I had thought you guys might have had a better name than "van." For us, Van was the big box-on-wheels style that would be used for electricians, locksmiths, surfers, and everything in between. The smaller trucks that might have been like the Sherpa would have been a custom installation of some type.
Thanks for the help, and the photo.
Tom West

#7530 TWest

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Posted 21 January 2011 - 19:33

Just picked up the new Aeroplane, a publication that I get because I like the history, and it carries a regular cutaway out of the past. I have most of them in other forms, but still get the magazine for those things. This Avro York from James Clark is the latest subject that I have in their Data File series ... Aeroplane, February, 2011 issue. Note that the original was out of 1944. Since we have broadened the range of the group, I thought that the aircraft stuff might be of interest to some of you.
Tom West

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#7531 werks prototype

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Posted 22 January 2011 - 00:37

Bravo Tom! :up: Thanks!

#7532 TWest

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Posted 22 January 2011 - 01:25

Bravo Tom! :up: Thanks!


Thought someone might appreciate these things. Throwing in some of the aircraft just seems cool, somehow. And, I have another 20 or so of the Haynes illustrations scanned, but not cleaned up yet. Maybe a couple later this evening, but there is a whole stack of those things sitting here awaiting the scanner, too. I need to flow this stuff out a little more, I think ... makes it easier and less stressful, it seems.
Thanks, Werks.
Tom West

#7533 werks prototype

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Posted 22 January 2011 - 01:42

Posted Image
Hurricane 11C. By John Weal.

Posted Image
Spitfire VB. By John Weal.

#7534 werks prototype

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Posted 22 January 2011 - 01:47

Posted Image
Auto-Union DKW 1,000 c.c. Artist unknown.

#7535 werks prototype

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Posted 22 January 2011 - 02:14

One that we would not have seen over here, the British Leyland Princess 2 from 1979. Another Haynes cover for Terry Davey.
Tom West

Posted Image



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Leyland 'O' Series. (Princess 2000). Artist unknown.

(I don't know if this is the exact spec unit, but it must be related somewhere along the line.)

Edited by werks prototype, 22 January 2011 - 02:24.


#7536 werks prototype

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Posted 22 January 2011 - 02:16

Posted Image
Alfa 2.5 V6 24v By 'UIS Grafica Tecnica'.



#7537 werks prototype

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Posted 22 January 2011 - 02:20

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Sauber C20. 'A look at the work of Sergio Rinland'. 'Twin-keel' chassis development. By Piola.

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Sauber C20. Chassis detail. By Piola.

#7538 TWest

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Posted 22 January 2011 - 08:42

Here are the two Terry Davey covers from Haynes Manuals that I had promised for the evening. They are sort of opposite ends of the Chevrolet spectrum, starting with the 1978 Chevette.
Tom West


Posted Image

#7539 TWest

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Posted 22 January 2011 - 08:45

The other end of the Chevrolet bookends from Terry Davey is the 1978 Corvette.
Tom West

Posted Image

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#7540 ibsenop

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Posted 22 January 2011 - 15:14

Be alerted that GM has issued a 2011 calendar of Chevrolet V8 motors, done in "cutaways" by David Kimble. The V8s range from the 1955 Corvette V8 to the '70 LS6, including '56 2 X 4, 57 FI, etc.
I'm told that initially they were to be available at only "Special events" and then, maybe NOT as give-aways, but sold. The best part is that "calendar" part is perforated and can be removed, leaving a "FRAMABLE" cutaway. (Sorry if this is a duplicate announcement)


I think here is the right place to do this announcement.
Does anyone have more information?

Edited by ibsenop, 22 January 2011 - 15:18.


#7541 Duc-Man

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Posted 22 January 2011 - 16:11

I just contacted a friend of mine about that calendar. Wait if he finds something out about it.
Meanwhile in the web:

Posted Image

Audi Quattro with mid engine. Has anybody any information about this?

#7542 macoran

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Posted 22 January 2011 - 16:53

I just contacted a friend of mine about that calendar. Wait if he finds something out about it.
Meanwhile in the web:

Posted Image

Audi Quattro with mid engine. Has anybody any information about this?

I don't recall there ever being a mid-engined Quattro
My money is on Michael Stirm for the drawing

#7543 Tony Matthews

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Posted 22 January 2011 - 17:07

Amazing machine, real or imaginary! Nice drawing, too.

#7544 macoran

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Posted 22 January 2011 - 17:08

I think here is the right place to do this announcement.
Does anyone have more information?

http://www.corvettea...ustrations.html

#7545 werks prototype

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Posted 22 January 2011 - 17:55

I just contacted a friend of mine about that calendar. Wait if he finds something out about it.
Meanwhile in the web:

Posted Image

Audi Quattro with mid engine. Has anybody any information about this?


Isn't this the Sport Gr.S? (Someone will know)

http://forums.autosp...php/t55325.html

And

http://www.audiquatt...ch/wissen2.html

http://www.mtm-franc...SQS2/SQS2_3.jpg

http://www.mtm-franc...ages/2006/SQS2/

Marvellous find! RS200 like.

Edited by werks prototype, 22 January 2011 - 18:52.


#7546 werks prototype

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Posted 23 January 2011 - 00:56

So every now and then the cameraderie is better than what gets posted.!!!!
Working on an Allington splice right now, so I have just hung the do not disturb thingy on my door !

Damn!! work takes up so much of one's spare time !!!


Am I the only one waiting with great anticipation for this?

Could I ask you, in polite terms, to get a 'shuft' on Marc?



#7547 werks prototype

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Posted 23 January 2011 - 01:25

Posted Image
Fokker E.III. John Batchelor.

#7548 werks prototype

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Posted 23 January 2011 - 01:37

Posted Image
Suzuki RG 500-Replica, 1976. By Paolo Riccioni and Guido Canestrari.

#7549 werks prototype

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Posted 23 January 2011 - 01:42

Posted Image
Twin-rotor Wankel. By R.J.Way. 'After' a work by Siegfried Werner. I think.

#7550 werks prototype

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Posted 23 January 2011 - 02:04

Posted Image
Volkswagen Golf, diesel. By Siegfried Werner.


Posted Image
VW Golf 1.500cc diesel engine. By Siegfried Werner.