I thought that I would do a check on the Betti's, just to know a bit more on them. I found this writeup, and though it might be of interest to everyone ... will check on Bruno later.
Giulio Betti is one of the most famous car illustrators in the world. With technical precision and artistic flair, he opens our eyes to the hidden under the sheet metal details not only of automobiles. In his studio, about 100 kilometers south of Milan, the Italian artist, more recently, the illustration of the new Chevrolet Captiva made.
For his detailed portraits of the car 73-year-old Italian is known worldwide. Decades ago, he has thus created a new genre: How do X-ray drawings Betti images, the technique of a car transparently, without reducing its appearance. The smallest details - such as the drive shaft of the Chevrolet Captiva, the object of recent Betti drawing - are equally technically represented how technically perfect.
How many auto illustrations come from his pen, white Betti did not know. "About 1,000," he suggested. An archive does not exist, the originals always kept the customer. The first drawing in his unique style emerged in the mid 60s for the Italian car magazine "Quattroruote" - Betti portrayed the Fiat 124 More than 700 drawings alone "Quattroruote" should follow, including milestones in automotive history as the 512th Ferrari Early 70s was the German "Auto Zeitung" as a long-time client, and later were the Opel-magazine "Start" with frequently large-Betti poster.
Not only cars Betti recorded at the request of manufacturers and the media. Refrigerators, washing machines, fighter planes and the space shuttle gave the illustrator award as their inner workings. Stylistic model was the British Hallington, which only drew with ink. "I wanted to work with colors and give the cars more volume," says Giulio Betti.
Giulio Betti Around 20 days is required for a drawing Betti. Using the example of the Chevrolet Captiva, he explains the procedure: "To start, I need photos in the right perspective, preferably with open doors and hoods." Then he begins to sketch in pencil on drawing paper the body. Details such as engine, chassis and interior follow. Then transfers the drawing on construction paper Betti, by turning over the sketch and Paust the contours with a wooden stick. Then he takes up his brush and painted free hand with tempera colors, such as details of the V6 engine in the Captiva. The contours of the body are thereby masked with Scotch tape, which prevents accidental painting.
With all the technical perfection - could be a sign the computer does not work much easier? Giulio Betti shakes his head vigorously. "Computers are designed to look at photos of grandchildren, but not for cars." With a wink pushes the seven-time grandfather to the factual statement: "CAD programs provide all the components namely 100-percent right again, but the elements are aligned, a drawing effect on the viewer is not as confusing as it shows the essentials.."
The technique is a car for Betti now more than a mere artistic detail. "The fact that I have specialized in cars is more or less by accident. But gradually I began to love the subject and to understand the technology." And, most Italian charmer, he adds: "Actually, I prefer to paint beautiful women."
Even as a child born in 1933 Giulio Betti has painted passionately. An artistic training, he has but never completed. "After the war I started with 12 years in a cartoon studio, one of the first in Italy to work. The owner of watercolors painted by him I could not stand to gain much." Next stop was a company for packaging, the Betti took the graphic design among other labels. Mid-20s he started his own business and taught his ten years younger brother Bruno to draw. From now portrayed both cars. Bruno Betti, still in "Quattroruote" services, has apparently the same talent: whether the drawings by Giulio Bruno or come can not distinguish outsiders - and they are often signed only with the last name.
With its lovable chaos reminiscent of Spitzweg's painting studio Bettis "The Poor Poet". His work space under the roof of an adjacent building is up in every nook and cranny stuffed. That Betti is an artistic multi-talent is clear at first glance: Before the drawing board is an exact replica of Michelangelo's statue horse "Il Cavallo". For over a year Betti has carved a few hours every night on the wooden sculpture. His penchant for finesse shows here in the perfectly rendered anatomy: sinewy muscles spanning the athletic horse's body from linden wood.
Not far from the Michelangelo replica takes a detour to the Renaissance Painting: Two main themes of the Averoldi-Altarpolyptychons of Titian, the "Resurrection" and the "Virgin of the Annunciation," Giulio Betti has the usual technical perfection on a painting right next to each other together . Also two large telescopes are in the studio. Previously he had observed several times a month, the star reveals Betti. Meanwhile, he pursuing astronomy only occasionally, after all it was, he adds with age Schalk, "basically always the same show."
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