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The cutaway drawing and its artists


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#851 Tony Matthews

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Posted 18 March 2009 - 11:16

Thanks for that ibsenop, I have been racking my brain cell trying to remember - I felt I was wrong about the Merc., AU, but that's all that would come! But I did remember the trade-mark black shadow. I do like big sports cars!

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#852 macoran

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Posted 18 March 2009 - 20:08

Originally posted by Tony Matthews


Robert Roux - I know the name, I have seen a cutaway or two, but all I can visualise is a Mercedes GP car, perhaps an Auto Union - I didn't read Autosport in the '60's, or MN for that matters, so missed his later work. Has anyone a sample?


More Roux for you !

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#853 IrishMariner

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Posted 19 March 2009 - 03:20

Thanks for posting them, Macoran. Nice pix.

#854 GIGLEUX

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Posted 19 March 2009 - 08:38

The Mercedes and Auto-Union cutaways about which Tony is speaking are from "Gedo" or Gedovius if you prefer. He died during the 90s.

#855 Tony Matthews

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Posted 19 March 2009 - 13:37

Originally posted by GIGLEUX
The Mercedes and Auto-Union cutaways about which Tony is speaking are from "Gedo" or Gedovius if you prefer. He died during the 90s.

Thank you Jean-Maurice, of course it was! Do you know if Robert Roux was a Matra 'staff' illustrator, or did he work for other constructors/manufacturers as well?

It's interesting to see the two versions of the V12 with the trumpets between the cam-shafts, one having beeb coloured rather crudely. I wonder if M. Roux was responsible for this, or someone else did it. It reminds me of an edition of Automobile Year from, I think, the late sixties, which featured about six engine cutaways, all illustrators names removed, similarly coloured.

#856 Tony Matthews

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Posted 19 March 2009 - 13:54

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I got THIS close to doing a cutaway of a V12 Auto Union - one of quite a few that got away...

#857 IrishMariner

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Posted 19 March 2009 - 15:00

It's probably been asked before, Tony, but which of the ones that 'got away' wuld you have liked to have done - either in hindsight or at the time?

#858 VWV

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Posted 19 March 2009 - 16:12

Tony, I would love to see more of your reference photo's that you have taken on either some web site or as a book, sort of "Racing cars in detail". you must have quite a library of photo's. As a engineer I love the nuts & bolts detail photo's of race cars that you don't really see too often. Actually I would buy a CD of the photo's if available.

#859 fines

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Posted 19 March 2009 - 17:04

Originally posted by Tony Matthews
I got THIS close to doing a cutaway of a V12 Auto Union - one of quite a few that got away...

:eek: I didn't know that being a technical illustrator was that dangerous! :cool:

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#860 Nigel Beresford

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Posted 19 March 2009 - 17:54

Originally posted by VWV
Tony, I would love to see more of your reference photo's that you have taken on either some web site or as a book, sort of "Racing cars in detail". you must have quite a library of photo's. As a engineer I love the nuts & bolts detail photo's of race cars that you don't really see too often. Actually I would buy a CD of the photo's if available.


I have some such reference photos which I believe Tony took of the Penske PC27 (1998 Champ Car). It's a pleasant diversion to leaf through them now and then because typically once a car goes in to one's past you sort of forget about it for ten years or so - nothing looks as old fashioned as last year's car. Then after 10 years or so they assume a degree of charm and you get nostalgic about them. Perversely, the ChampCars of 10 years ago seem considerably more sophisticated than the current IndyCars.

Tony, didn't you draw the 1971 Lola T260 CanAm car? I used to collect all the prints from MN and remember my dad swiped my copy of the Lola drawing when McLaren were designing the M20 because they wanted to see how Lola had done the side radiator installation. I never got it back...

Thanks

Nigel

#861 Tony Matthews

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Posted 19 March 2009 - 20:13

Originally posted by IrishMariner
It's probably been asked before, Tony, but which of the ones that 'got away' wuld you have liked to have done - either in hindsight or at the time?


Well, IM, it may sound a bit trite, but all of them! Every competition car is of interest, and if I start with the March 721X that was mentioned earlier and which was a fascinating car, and list cars that I have full or part photographic reference for we have - Williams FW08, 10, 12, 13, 16, 17, 20, and 21, Penske PC 21, Lotus T98, T99, T100, the V12 Auto-Union, Mercedes W154, Eggenberger Ford-Cosworth Sierra, Ford-Cosworth Rally Escort, Ford GAA Capri, Tyrrell 021, a Tom's F3 car, the Ilmor 265B engine, Shadow Can-Am (can't remember type #), there's more, there's more...McLaren M8F...

Then there's the Skoal Bandit Ram-Hart and Lotus T79 that both got to the painting stage and then were parked.

If we start a list of all the cars I don't have reference for but would love to have done, well, it's a long list!

#862 Tony Matthews

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Posted 19 March 2009 - 20:27

Originally posted by VWV
Tony, I would love to see more of your reference photo's that you have taken on either some web site or as a book, sort of "Racing cars in detail". you must have quite a library of photo's. As a engineer I love the nuts & bolts detail photo's of race cars that you don't really see too often. Actually I would buy a CD of the photo's if available.


As I see it, WV, there are several problems, I don't think they really belong on this thread apart from the occasion when they clarify a detail, and I think I would be foolish to place everything in the public domain when there is the possibility of suplementing my income, even modestly. I have been asked, and paid for, detail photos in the past, but also taken for a ride, so I am cautious. I have also been approached about selling my archive, but I'm not ready to do that either!

Some are really attractive in their own right, not because of my photographic skills but because of the - to me - beauty of the object. I may have a sample to hand...

I would also have to buy a good film scanner, and they ain't cheap, and I am so dissolusioned with Microsoft Vista and the HP scanning software that I'm lumbered with that I'd want a Mac too...

#863 macoran

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Posted 19 March 2009 - 20:28

Originally posted by Tony Matthews

and Lotus T79 that both got to the painting stage and then were parked.


Tony ? I have seen a Tony Matthew 79 painted.
I'll check and see, can I post what I find ?

Edit...maybe it wasn't painted to the extent you wanted to......

#864 Tony Matthews

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Posted 19 March 2009 - 20:38

Originally posted by Nigel Beresford


I have some such reference photos which I believe Tony took of the Penske PC27 (1998 Champ Car). It's a pleasant diversion to leaf through them now and then because typically once a car goes in to one's past you sort of forget about it for ten years or so - nothing looks as old fashioned as last year's car. Then after 10 years or so they assume a degree of charm and you get nostalgic about them. Perversely, the ChampCars of 10 years ago seem considerably more sophisticated than the current IndyCars.

Tony, didn't you draw the 1971 Lola T260 CanAm car? I used to collect all the prints from MN and remember my dad swiped my copy of the Lola drawing when McLaren were designing the M20 because they wanted to see how Lola had done the side radiator installation. I never got it back...

Thanks

Nigel


Nigel, I rember Nick Goozee asking me for prints of the interior of a tub with everything installed as reference, I think it was felt that it was easier to discuss the layout, or detail, in a group without constant referal to engineering drawings. I haven't seen an IndyCar, but I loved the ChampCars, and particularly the Penskes, for reasons that I have mentioned before.

The first Lola I did was the '72 T280, so someone else's skills helped McLaren by the look of it! If Dads don't nick things Mums throw them away...

#865 Tony Matthews

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Posted 19 March 2009 - 20:44

Originally posted by macoran


Tony ? I have seen a Tony Matthew 79 painted.
I'll check and see, can I post what I find ?

Edit...maybe it wasn't painted to the extent you wanted to......


Ah, you got me there, Marc. It's very difficult to get anything past you, I'm amazed and impressed! I did a very quick, cheap T79 when the car was first launched, it wasn't very good, in fact not good enough to remember, but I started it again, properly, a few years ago - it's that one that wasn't finished!

#866 Tony Matthews

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Posted 19 March 2009 - 20:53

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For WV, Williams detail, not saying which, just lovely bits and pieces!

#867 VWV

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Posted 19 March 2009 - 21:22

:) Thanks Tony for everything you have posted here at TNF.

I still think there is a book to be in you. I surf at other web sites (such as gurneyflap.com, ultimatecarpages ect) which have detail of race cars but most of the pics are of the current state of the cars, not as they were in period. It is still better than nothing though. If your not into writing a book, you could sell CD's.

As someone who has appreciated your work since the 70's, thank you for contributing to out forum.

#868 GIGLEUX

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Posted 19 March 2009 - 21:39

Originally posted by Tony Matthews

Thank you Jean-Maurice, of course it was! Do you know if Robert Roux was a Matra 'staff' illustrator, or did he work for other constructors/manufacturers as well?

It's interesting to see the two versions of the V12 with the trumpets between the cam-shafts, one having beeb coloured rather crudely. I wonder if M. Roux was responsible for this, or someone else did it. It reminds me of an edition of Automobile Year from, I think, the late sixties, which featured about six engine cutaways, all illustrators names removed, similarly coloured.


Robert J Roux had a big contract with Elf Petroleum which was sponsoring Matra's racing activities. As Elf also sponsored Alpine-Renault he also drawn a batch of cutaways of their racing cars. At the time you can obtain all these cutaways in 21*29.7 form at all the Elf stations in exchange of bonus points obtained by buying their benzine.

Roux, as Gedo also did, worked for constructors, magazines and newspapers.

#869 macoran

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Posted 19 March 2009 - 22:57

Originally posted by Tony Matthews

not saying which,


I hazard it the FW13B

Found the 79,and it is the simple one you describe.
Does that mean the second 79 cutaway which was abandonned is half wd and half painted ?
Be mighty interesting to see a bit of that !

By the way I can't even get my HP Scanjet 4500C to run in Vista, so I am just as
diss... dis...disso...disill...whatever,.... as you are.

#870 Tony Matthews

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Posted 19 March 2009 - 23:04

Originally posted by macoran


I hazard it the FW13B

Found the 79,and it is the simple one you describe.
Does that mean the second 79 cutaway which was abandonned is half wd and half painted ?
Be mighty interesting to see a bit of that !


I think it's a later model, Marc, I didn't set it as a quiz, but I've seen so many Williams pedal set-ups that this has stumped me without checking - it was just a photo sitting in a pile on the floor!

The T79 working drawing was finished, the painting about 15% done. I'll see what I can find...

#871 Tony Matthews

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Posted 19 March 2009 - 23:19

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The biggest bit I could scan at A4.

#872 Tony Matthews

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Posted 19 March 2009 - 23:30

Originally posted by macoran
By the way I can't even get my HP Scanjet 4500C to run in Vista, so I am just as
diss... dis...disso...disill...whatever,.... as you are.


I've got an HP Scanjet G4050, and I'm as diss... dis... disill... disGUSTED is the word!

#873 IrishMariner

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Posted 20 March 2009 - 07:09

Tony,

Maybe you should get in contact with the modellers supplier sites such as Motorsport In Detail orMacs Modelling and see if you can sell CDs to the eager modelling public. Surelay a lot of the photos are already in the public domain but if you take pictures with the same care you do the artwork then I am sure you'll attract a premium.

Thanks for posting another working drawing. I do love 'em so....

IM

#874 alansart

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Posted 20 March 2009 - 09:44

Here are a few references I kept of other peoples work for style. Most of these are from Motor and Autocar,

Max Millar
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Gordon Crosby
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Dick Ellis
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FW Beak
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Chris Plant
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Terry Collins
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Vic Berris
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#875 B Squared

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Posted 20 March 2009 - 13:34

A friend asked me for help with finding technical information on the movement of fluid & gases for his 15) year old son's science paper. He wants to base it on autosport applications. Anyway, I got into my stash of Racecar Engineering magazines to loan out and couldn't resist looking through to earmark articles, charts, & graphs related to this project. I was pleasantly surprised to find a number of Tony's beautiful drawings in the lot. These are approximately 11-½" x 16" on a decent quality paper that will allow you to frame them. The single center crease will virtually disappear when dry mounted properly. Thanks, as always, for all the great contributions and information provided on this subject.

Brian

#876 Tony Matthews

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Posted 20 March 2009 - 17:43

[QUOTE]Originally posted by alansart
Here are a few references I kept of other peoples work for style. Most of these are from Motor and Autocar...

Alan, that's terrific, what a great selection! I think the Vic Berris is one of the illustrations I mentioned as having been published in Automobile Year some time ago - 1½ litre Delage? - but my favourite, although not a cutaway, is the Gordon crosby. Just beautiful. I tried to buy another of his technical pieces some years ago, I learned that someone I knew was going to the auction and asked him to bid for me, and when I described it over the telephone his reaction was "Why do you want that!" I said I was prepared to go to £2,000, but it went for more, not a lot more, but if I had been bidding it might have been quite a lot more, however, my contact, on calling me, admitted that he had quite liked it! I still have the print from the catalogue somewhere and whenever I stumble upon it I do rather wish I had it...

I always think of Max Millar's work to be a sort of link between the Victorian engraved illustrations and Jim Allington's, I know that Jim regarded Max's work very highly, and it has a great feel about it. Dick Ellis's drawing absolutely suits the subject, and the brief may well have been for a 'simple' cutaway, but you can see enough to know the basic layout.

F.W. Beak I may have seen before, and it's a very nice illustration, and Chris Plant's work - I'm sure he has done alot for various part-works - as usual, I could be wrong! Terry Collins' earlier line work reminds me of Theo Page, there's a similarity, but his colour work, the Benettons, for instance, had a style of it's own. And back to Vic Berris - what I like particularly is that nearly all the mechanical parts are joined to - in contact with - their relevant neighbour. I don't like to see bits floating in mid-air, but sometimes there's no option, like valves, if you make a transverse section through a combustion chamber and don't show the valves that should strictly be removed (I'm talking four-vave heads here,) it looks like a two-valve head! A simple but efective colouring, too, but I wonder if he was responsible or it was added later.

#877 alansart

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Posted 20 March 2009 - 18:29

[QUOTE]Originally posted by Tony Matthews
[QUOTE]Originally posted by alansart
Here are a few references I kept of other peoples work for style. Most of these are from Motor and Autocar...

Alan, that's terrific, what a great selection! I think the Vic Berris is one of the illustrations I mentioned as having been published in Automobile Year some time ago - 1½ litre Delage? - but my favourite, although not a cutaway, is the Gordon crosby. Just beautiful. I tried to buy another of his technical pieces some years ago, I learned that someone I knew was going to the auction and asked him to bid for me, and when I described it over the telephone his reaction was "Why do you want that!" I said I was prepared to go to £2,000, but it went for more, not a lot more, but if I had been bidding it might have been quite a lot more, however, my contact, on calling me, admitted that he had quite liked it! I still have the print from the catalogue somewhere and whenever I stumble upon it I do rather wish I had it...

I always think of Max Millar's work to be a sort of link between the Victorian engraved illustrations and Jim Allington's, I know that Jim regarded Max's work very highly, and it has a great feel about it. Dick Ellis's drawing absolutely suits the subject, and the brief may well have been for a 'simple' cutaway, but you can see enough to know the basic layout.

F.W. Beak I may have seen before, and it's a very nice illustration, and Chris Plant's work - I'm sure he has done alot for various part-works - as usual, I could be wrong! Terry Collins' earlier line work reminds me of Theo Page, there's a similarity, but his colour work, the Benettons, for instance, had a style of it's own. And back to Vic Berris - what I like particularly is that nearly all the mechanical parts are joined to - in contact with - their relevant neighbour. I don't like to see bits floating in mid-air, but sometimes there's no option, like valves, if you make a transverse section through a combustion chamber and don't show the valves that should strictly be removed (I'm talking four-vave heads here,) it looks like a two-valve head! A simple but efective colouring, too, but I wonder if he was responsible or it was added later.
[/QUOTE]

I think all these samples may have come from an Autocar Suppliment from about 20 years ago but I think they are quite a good contrast of styles. I had a folder I used to keep other peoples work in. Things I'd see and like, and just keep for future reference. I've no idea where it went and I found these amongst some of my old stuff in the loft. I was occasionally asked to draw in an old fashioned style so out came the Sepia ink and a few of the old pictures for style.


Gordon Crosby is obviously well known for his racing pictures, but I've not seen many of his "still life" drawings. I think they're just fabulous.

The Vic Berris engine drawing is a Lagonda V12 so it was always going to be a compromise to show all the bits joined together. Trying to get everything to look like it works isn't always easy. The worst thing is to choose a view, get half it drawn and then realise that an important bit is covered by another important bit....

#878 Tony Matthews

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Posted 20 March 2009 - 19:03

Originally posted by alansart
Gordon Crosby is obviously well known for his racing pictures, but I've not seen many of his "still life" drawings. I think they're just fabulous.

The Vic Berris engine drawing is a Lagonda V12 so it was always going to be a compromise to show all the bits joined together. Trying to get everything to look like it works isn't always easy. The worst thing is to choose a view, get half it drawn and then realise that an important bit is covered by another important bit....


As soon as I posted my comments I thought - engine, wrong! - but the joy of a 'long' engine is that you have space to cut away different bits, and show each sectioned bit in a slightly different way. I found a V6 about the hardest, as you only have three cylinders length in which to get in as far as the crankshaft, show a complete piston, a sectioned piston and rod and a transverse section of the head before you have to get out again to show the rear (assuming you started from the front!) of the engine. Eights, 10's and twelves get progressively easier - let me at a sixteen!

I know what you mean about the overlapping fundamental bits, it's a great help to have an end elevation, you can mark the various centre-lines and choose an angle that avoids the conflict. Mind you, it's amazing, however careful you are, how many times two small but equally important bits will land on top of each other! I always found my 'armature' drawings very helpful, and sometimes, not often for engines, I made simple models to sort a problem. I did, however, make a wire 'crankshaft' for the Ferrari 049 V10 to help visualize the crank-pin relationships, and to enable me to keep up with Peter Wright when he was trying to establish the firing order.

It is interesting that Vic chose such a low viewpoint, I have only once used a high one for a V engine, the Cosworth DFX, but I don't think it was a great success, although you can see everything, it's just not very attractive. My first engine cutaway, the Chevrolet Cosworth Vega F2 for MN, was a little on the high side, but a straight-four, so not too bad! Another reason why I have never wanted to cut away an engine in a car - if the angle is right for the car it's wrong for the engine and vice versa.

#879 alansart

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Posted 20 March 2009 - 19:28

Originally posted by Tony Matthews

It is interesting that Vic chose such a low viewpoint, I have only once used a high one for a V engine, the Cosworth DFX, but I don't think it was a great success, although you can see everything, it's just not very attractive. My first engine cutaway, the Chevrolet Cosworth Vega F2 for MN, was a little on the high side, but a straight-four, so not too bad! Another reason why I have never wanted to cut away an engine in a car - if the angle is right for the car it's wrong for the engine and vice versa.


Most engines tend to go up. Crank, pistons etc. going up to the valves, so a high view will hide too much.

There again you have a low line 12 cylinder like the Techno...

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#880 macoran

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Posted 20 March 2009 - 20:23

Originally posted by alansart
Here are a few references I kept of other peoples work for style. Most of these are from Motor and Autocar,

Terry Collins
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I hope those of you in the know can tell me for sure:.... T.D. Collins is the same illustrator
as Terry Collins ?

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I didn't think he is/was.

#881 Tony Matthews

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Posted 20 March 2009 - 22:21

Originally posted by alansart
Most engines tend to go up. Crank, pistons etc. going up to the valves, so a high view will hide too much.

There again you have a low line 12 cylinder like the Techno...


Exactly, and of course I didn't mention boxer or 180° (Michael please note!) V layouts, where the viewpoint has to be high. I have a small - but larger than A4 and mounted on stiff board - print of Jim's cutaway of the Climax flat sixteen, and I know Inomoto did a flat engine of some make, possibly Alfa Romeo, and there is probably less choice of viewpoint than with V's or straights!

#882 Tony Matthews

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Posted 20 March 2009 - 22:24

Originally posted by macoran
I hope those of you in the know can tell me for sure:.... T.D. Collins is the same illustrator as Terry Collins ? I didn't think he is/was.


I have never thought they were different people, Marc, but you may be right. Anybody know? Perhaps one of them could inform us...

#883 275 GTB-4

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Posted 20 March 2009 - 22:50

Originally posted by Tony Matthews
Posted Image

I got THIS close to doing a cutaway of a V12 Auto Union - one of quite a few that got away...


and without a safety net!! :wave:

#884 macoran

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Posted 20 March 2009 - 22:51

Originally posted by Tony Matthews


I have never thought they were different people, Marc, but you may be right. Anybody know? Perhaps one of them could inform us...


I am following the train of thought that..... an illustrator'/artist's style is as much his signature as the signing of his workpiece.
Why...if people have admired your work for years as being from the hand of a certain T.D Collins would you suddenly sign it as "Terry" Collins.
Furthermore I do find a distinct difference in styles, the colour "Terry" Benetton period being less stylish and technically correct than the line drawings of "T.D."

#885 Tony Matthews

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Posted 20 March 2009 - 23:00

Originally posted by macoran


I am following the train of thought that..... an illustrator'/artist's style is as much his signature as the signing of his workpiece.
Why...if people have admired your work for years as being from the hand of a certain T.D Collins would you suddenly sign it as "Terry" Collins.
Furthermore I do find a distinct difference in styles, the colour "Terry" Benetton period being less stylish and technically correct than the line drawings of "T.D."


I get your drift - always wanted to write that! - Marc, but my B&W style was, I think, very different from my colour work, and at MN I had, as I recounted on another thread, quite a battle to even sign my work, eventually only being allowed 'matthews' in small Letraset. Also, Terry Collins is older than me, but younger than Jim Allington, and must have started illustrating some time before me - ample time for his style to change. But you could well be right. Will the real T Collins please step forward!

#886 Tony Matthews

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Posted 20 March 2009 - 23:02

Originally posted by 275 GTB-4


and without a safety net!! :wave:


I had some nice deformable aluminium to fall onto, GTB!

#887 Brogan

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Posted 20 March 2009 - 23:04

Superb thread.

I haven't read all 23 pages so this has most likely already been posted but just in case it hasn't

Yoshihiro Inomoto

I just love this image of a 1937 Mercedes Benz W125 Grand Prix Racer: http://www.khulsey.c...-benz_w125.html

You have to admire the skill of these guys.
The attention to detail and amount of man hours is seriously impressive.

#888 Tony Matthews

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Posted 21 March 2009 - 08:47

Originally posted by B Squared
A friend asked me for help with finding technical information on the movement of fluid & gases for his 15) year old son's science paper. He wants to base it on autosport applications. Anyway, I got into my stash of Racecar Engineering magazines to loan out and couldn't resist looking through to earmark articles, charts, & graphs related to this project. I was pleasantly surprised to find a number of Tony's beautiful drawings in the lot. These are approximately 11-½" x 16" on a decent quality paper that will allow you to frame them. The single center crease will virtually disappear when dry mounted properly. Thanks, as always, for all the great contributions and information provided on this subject.

Brian


Brian, I was never happy with the reproduction of my cutaways in Racecar Engineering, to the extent that Ian Bamsey probably thought I was deranged - but those responsible for the scans seemed hell-bent on turning my solid, contrasty, artwork into misty water-colours. I even deliberately gave my work more 'thump' to try to counteract their evil plan, but to no avail. Compare the RE images to those in Racer magazine, superb, sharp, colourful and contrasty! And I don't think it had much to do with the paper stock, there was a difference, but it should not have been responsible for such a poor outcome in one publication.

I wonder if 'artists' have the same problems. As an illustrator I was never once asked to check proofs of my work or approve the print scan/print quality. The three cutaways - Aston Martin DBR1, Ferrari Testa Rossa and TR250 - done for the Chris Nixon/Brandon Wang book were so over-inked (that may be technically wrong but describes how they looked) that when I saw the finished article at the launch, held in The Orangery in Kensington, I was nearly physically sick. All that work, all that effort, and done more for love than money, and the thought of all the money the 'punters' were forking out... But, hey, who am I to question? It may be that everyone else was totally satisfied, that it was deemed a great success.

The Ferrari F2000 book was a much smoother sailing, but then we had last-minute problems with digital files that varied in focus across the artwork...

I realise I may sound like a prima donna - only in the bath! - but it's just a matter of wanting things to be done properly. You gotta have standards! A bit early for a rant, too, perhaps a fix of toast and marmalade will help. Waiter!

#889 Odseybod

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Posted 21 March 2009 - 09:25

Don't want to introduce another OT diversion but seem to remember that Autocourse went through a very dodgy phase five or six years ago while trying to reproduce early digital photos at the quality we'd been used to from film ones - some very dark, muddy images (yes, I'd call it over-inked too) before they got it sorted out.

Today's magazines are having a major headache, trying to balance paper quality against rocketing costs - it's long been a problem, of course, but never this severe. Go too thin with your paper-stock and you get problems like show-through, which degrades both type and images, go too thick and no one can afford to buy the magazine. End of digression.

#890 Tony Matthews

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Posted 21 March 2009 - 09:37

Originally posted by Odseybod
Don't want to introduce another OT diversion...


Hi Tony, I don't think it's that OT, as the end product is a print, be it a single image for mounting and framing or a single/double page spread in a magazine. It's how we see them and the quality matters, although I realize that my perspective is slightly different - we are all protective of our babies! However, I do sympathise with publishers and printers, nothing is cut and dried. Apart from printed matter, I've just realized!

#891 Gregor Marshall

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Posted 21 March 2009 - 10:53

I'd forgotten I have it but just found it; I have a really good book called the anatomy of a Motor Car (the cover is a coloured cutaway of an RS2600 Capri) and it has many coloured car cutaways by Bruno Betti and it also lots of anatomy (funnily enough!!) coloured cutaways which unfortunately aren't signed which is a shame as they're brilliant and there are some coloured car cutaways that aren't credited - there's a great one of a Fiat 500 and one of a Rolls Royce Silver Shadow (and the Capri).

#892 Kpy

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Posted 21 March 2009 - 11:23

Originally posted by Brogan
Superb thread.

I haven't read all 23 pages so this has most likely already been posted but just in case it hasn't

Yoshihiro Inomoto

I just love this image of a 1937 Mercedes-Benz W125 Grand Prix Racer: http://www.khulsey.c...-benz_w125.html

You have to admire the skill of these guys.
The attention to detail and amount of man hours is seriously impressive.


Yoshihiro Inomoto has been mentioned, and links posted several times. Try putting Inomoto in a BB search if you don't want to read the whole thread.

#893 Rancethebus

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Posted 21 March 2009 - 11:24

[B] Sunny, Mediterranean Brands Hatch! Got a list somewhere, I'll see if I can find it.

Had any luck so far Tony? I am trying to collect the set.
An extremely good illustrator who seems to have been forgotten is John Ferguson. In my opinion, his work was of a better quality than that of Max Millar. They worked on opposing sides for "Autocar" and "Motor" magazines at around the same period. I am lucky enough to have a few Ferguson and Millar originals in my collection. What do other people think. Anyone familiar with him?

#894 Tony Matthews

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Posted 21 March 2009 - 12:38

Originally posted by Rancethebus
[B] Sunny, Mediterranean Brands Hatch! Got a list somewhere, I'll see if I can find it.

Had any luck so far Tony? I am trying to collect the set.
An extremely good illustrator who seems to have been forgotten is John Ferguson. In my opinion, his work was of a better quality than that of Max Millar. They worked on opposing sides for "Autocar" and "Motor" magazines at around the same period. I am lucky enough to have a few Ferguson and Millar originals in my collection. What do other people think. Anyone familiar with him?

Here we go, sorry about the delay:-

1971 Brabham BT34, March-Alfa 711, Tyrrell 003(?), Ferrari 312B(2?), BRM P160, Gold Leaf JPS Lotus 72, McLaren M19, Mick Hill's Boss Capri.

1972 Lola-Ford T280, Chevrolet-Cosworth EA engine, Tyrrell 005, Surtees TS9B, Ferrari 312P, March 725? 6? BMW, Gulf Mirage Weslake V12.

1973 McRae GM1, UOP Shadow DN1A, Lola T330, Ibec P2, Surtees TS14, Porsche 917/10, Trojan T102 F5000.

1974 Ford-Cosworth GAA V6 engine, Hesketh 308, B&W plus colour, Ferrari 312B3, Tyrrell 007, B&W plus colour.

1975 Alfa P3, colour, Lola T400 (it says here, but I think it was a simple illustration for an outside client, LAT did not operate solely for Teesdale Publishing), Ferrari 312T, B&W plus colour, Martini-BMW F2, Bugatti T59, colour.

That's it, I left in February 1976.

Obviously the colour cutaways were for Motor Sport!

Manel Baro's thread about motorcycle cutaway art shows a John Ferguson cutaway, and very nice too, You are very lucky to have originals!

Edited to say that, yes, there are a couple of queries in the list, my job book is a bit vague here and there, and my memory is not quite as ... er...what's the word...er...anyway, I can and will...er... check, yes, that's it, and report back.

#895 Nigel Beresford

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Posted 21 March 2009 - 12:41

Originally posted by Brogan
Superb thread.

I haven't read all 23 pages so this has most likely already been posted but just in case it hasn't

Yoshihiro Inomoto

I just love this image of a 1937 Mercedes Benz W125 Grand Prix Racer: http://www.khulsey.c...-benz_w125.html

You have to admire the skill of these guys.
The attention to detail and amount of man hours is seriously impressive.


The drawings are really impressive, as you say, but...the "1995 Rahal Penske" is a Lola.

Nigel

#896 Rancethebus

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Posted 21 March 2009 - 13:51

[B]Here we go, sorry about the delay:-

1971 Brabham BT34, March-Alfa 711, Tyrrell 001, Ferrari 312B(2?), BRM P160, Gold Leaf JPS Lotus 72, McLaren M19, Mick Hill's Boss Capri.

1972 Lola-Ford T280, Chevrolet-Cosworth EA engine, Tyrrell 005, Surtees TS9B, Ferrari 312P, March 725? 6? BMW, Gulf Mirage Weslake V12.

1973 McRae GM1, UOP Shadow DN1A, Lola T330, Ibec P2, Surtees TS14, Porsche 917/10, Trojan T102 F5000.

1974 Ford-Cosworth GAA V6 engine, Hesketh 308, B&W plus colour, Ferrari 312B3, Tyrrell 007, B&W plus colour.

1975 Alfa P3, colour, Lola T400 (it says here, but I think it was a simple illustration for an outside client, LAT did not operate solely for Teesdale Publishing), Ferrari 312T, B&W plus colour, Martini-BMW F2, Bugatti T59, colour.

That's it, I left in February 1976.

[QUOTE]

Thanks for that Tony. I have quite a few gaps. Didn't know anything about the Shadow DN1A. Does anyone have a copy? I thought that I never missed a copy of Motoring News but I was paying for it out of my student grant while studying TI in Cornwall. Must have passed me by. The March sports car by the way was the 735 BMW I have a copy. I particularly liked the IBEC P2 as well. Very unusual for the time. Do you still have the pencil renderings of that? I would love to see that or the Ferrari 312P.

#897 markpde

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Posted 21 March 2009 - 13:58

Originally posted by Brogan
Superb thread.

I haven't read all 23 pages so this has most likely already been posted but just in case it hasn't

Yoshihiro Inomoto

The studies and photo references of the Bugatti Type 37 would be invaluable for anyone building a model.

#898 Tony Matthews

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Posted 21 March 2009 - 15:19

Originally posted by Rancethebus
I particularly liked the IBEC P2 as well. Very unusual for the time. Do you still have the pencil renderings of that? I would love to see that or the Ferrari 312P. [/B]


Thanks R, I really enjoyed doing the Ibec, very different from anything I had done before - I don't think the Lotus Seven that I did whilst working for Jim Allington really counts as he had a big input, and a Seven is a very simple chassis - or since. All my MN and MS cutaways were done the old way, working drawing done on board, then inked over, so lost, lost for ever!

The difference was that the cutaways done in both B&W and colour were based on the same working drawing, done in thin ink line and photographed, the ink rubbed out nearly completely and painted over, while a full-size print was done and this inked over to give the B&W version.

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#899 PeterElleray

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Posted 21 March 2009 - 16:57

Originally posted by Rancethebus
[B][B]
Tyrrell 001

Tony - some bloke who signed himself 'Bennett MSIA Anglia Art' drew Tyrrell 001 for Autosport. You drew 003 for MN - i sitting here looking at the pair of 'em... you made a special point of drawing the full 360 deg roll over hoop as a separate drawing to illustrate the difference between them..

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#900 David M. Kane

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Posted 21 March 2009 - 17:45

Peter that would be Bill Bennett. Was the cutaway two colors, blue and black or just black ink?