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The cutaway drawing and its artists


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#2951 macoran

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Posted 28 November 2009 - 22:33

Just thought I'd throw in some Tamiya box art.
Great kits and great packaging.


Ferrari 312t4
http://img407.images...rrari312t4.jpg/

Renault Re20
http://img513.images...enaultre20.jpg/

Al

Good job Al !!!!

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#2952 macoran

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Posted 29 November 2009 - 12:18

Brian Hatton's 1974 Lotus Elite
Posted Image
Just look at that rear swing arm !
Funny how such a modern (for the time) Lotus had inboard drum brakes !

Edited by macoran, 29 November 2009 - 12:22.


#2953 DHFiallo

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Posted 29 November 2009 - 13:07

Just thought I'd throw in some Tamiya box art.
Great kits and great packaging.


Ferrari 312t4
http://img407.images...rrari312t4.jpg/

Renault Re20
http://img513.images...enaultre20.jpg/

Al


You wouldn't have some of their box art from the kits depicting the Group C cars would you? Macoran or was it Ibsen posted a couple and they were fantastic. If you have any it would be great to see them.

#2954 ibsenop

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Posted 29 November 2009 - 13:49

Tamiya Box Art - Group C cars

Nissan R98C by Hideo Mizokawa - page 35
Sauber C9 Mercedes by Hideo Mizokawa - page 35
Jaguar XJR9LM by unknown artist (Hideo Mizokawa ??) - page 36 (Low res - a hi res scan is welcome) - I have no more the Jaguar kit.

Ibsen

#2955 Tony Matthews

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Posted 29 November 2009 - 13:50

Oi! DHF - keep up! ;)

#2956 Duc-Man

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Posted 29 November 2009 - 14:32

By the way, are we going to reserve post #3000 for Anders? He's been a bit quiet recently...


Hopefully it doesn't take as long as post #2000... :blush:

#2957 bradbury west

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Posted 29 November 2009 - 14:34

Oi! DHF - keep up! ;)

Start by ckecking post 2687 and work from there.
Roger Lund


#2958 ABG

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Posted 29 November 2009 - 14:56

You wouldn't have some of their box art from the kits depicting the Group C cars would you? Macoran or was it Ibsen posted a couple and they were fantastic. If you have any it would be great to see them.


Sorry
Only Tamiya box art left is the Porsche 935 which is at least 4 times the size of my scanner.
Hope this is of some interest.

Jaguar XJR-8
http://img69.imagesh...jaguarxjr8.jpg/

Al

#2959 Bonde

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Posted 29 November 2009 - 15:46

...okay, I'll take the bait...


Problem is, I don't really have anything to contribute - my collection simply cannot hold a candle to those of Marc and Ibsen. If I wasn't so busy doing all kinds of other things, I could have contributed with a new cutaway myself...I've only lurked a bit recently, sorry!

Anyway, I'm away on business Tuesday and Wednesday, so I have to time it for Monday or Thursday if I have to hit #2000...

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#2960 Tony Matthews

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Posted 29 November 2009 - 15:49

...okay, I'll take the bait...


Problem is, I don't really have anything to contribute - my collection simply cannot hold a candle to those of Marc and Ibsen. If I wasn't so busy doing all kinds of other things, I could have contributed with a new cutaway myself...I've only lurked a bit recently, sorry!

Anyway, I'm away on business Tuesday and Wednesday, so I have to time it for Monday or Thursday if I have to hit #2000...

Wow! Timing! Just clicked on to see if anything was going on, and there you are! Hi, hello, Marc and Ibsen, the Trojans of Cutawayland have been polishing your throne, we await your post! Thanks for starting this thread...

#2961 macoran

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Posted 29 November 2009 - 19:55

Sorry
Only Tamiya box art left is the Porsche 935 which is at least 4 times the size of my scanner.
Hope this is of some interest.

Jaguar XJR-8
http://img69.imagesh...jaguarxjr8.jpg/

Al

no problem ABG, scan it in bits, as long as you keep the horizontal plane horizontal, we'll stitch the bits together.
reminds me, Tony we still need some bits of that DB whotsit

#2962 Bonde

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Posted 29 November 2009 - 21:03

Wow! Timing! Just clicked on to see if anything was going on, and there you are! Hi, hello, Marc and Ibsen, the Trojans of Cutawayland have been polishing your throne, we await your post! Thanks for starting this thread...


Thanks, Tony - it has been a pleasure! I'm so pleased you found this site and this particular thread!

But...Oooops! my previous post just goes to show I haven't really been paying attention - we are, in fact, heading for post number 3000, no less! Wow!


Marc,

Thanks for the Gordon Bruce drawing. What I like about Bruce's style is its distinct period 'feel'. A modern carbon chassis single seater wouldn't fit his style, but a 'sixties spaceframe fits just perfectly...

#2963 werks prototype

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Posted 29 November 2009 - 21:14

Curmudgeon, eh? I like it, it's a good old word, not used enough these days - I may add it as a middle name by Deed Poll. No doubt the impression was given by someone who's never met me, that would be par for the course... As for being anti-social because the work is detailed and requires a deal of concentration - my philosophy has always been work hard, play hard. My impression is that there is a specific type of humour that exists, or existed, in drawing offices, and by extension, studios. I don't know whether the work creates the humour, or attracts characters who have a similar outlook on life. No doubt there are genuine curmudgeons who illustrate, but I've never met one, and on this thread I've met illustrators who are the exact oposite.

Briefly, my approach to a cutaway was:- a)Arrange to see the car, b)if it was an unfamiliar site, scan the area for nearby flat roofs, stairs, high windows or nearby transporters, c)photograph every damn detail of the car, d)get it moved to where I could get an overall shot or two from the aformentioned vantage point, e) go home. Obviously c) and d) could be reversed in order depending. If a Williams was just back from a GP it would be stripped down to it's component parts very quickly, so I would photograph the complete car ASAP so not to hold the mechanics up too much, then watch and click as they tore it down. Work fast and keep out of the way! Oh, and I always had back-up cameras, loads of film and batteries - and a Surveyors ladder!

Once home, process the film, choose an O/A shot, make a 20"x30" print for the outline and panels etc, and then print up the detail shots. Then tape the big print to a s/s piece of 3mm hardboard, tape drafting film over that and draw in all the detail I could. Then tape the film onto a hardboard-backed sheet of white board to show the lines, and start fettling the shape, re-drawing the wheel ellipses and find features that would enable me to establish a vanishing point. Having ascertained where the little devil was hiding, draw in a load of perspective lines, some based on features of the car, some intermediate, and decide where to cut the bodywork away...

Before I had my own darkroom I used a friend's Grant Projector to get the outline, etc., but I didn't like using his facilities, especially when his studio - graphic design and advertising - moved on to more advanced methods and the redundant projector was banished to his office basement, and new, young staff didn't know who I was - well, it just got a bit embarrassing. I have also used the squaring-up method, it is surprisingly accurate, and all these techniques have their uses, but if you are illustrating commercially, time is of the essence. I didn't want to spend three days drawing and re-drawing an outline when I could be cutting and detailing! However, having had to progress through these earlier techniques does no harm, they all add to your knowledge and experience.

Before all that, working for Jim Allington and then at Motor Sport and Motoring News, everything was sketched out from scratch - I look at drawings like the Porsche 917/10 and can't really imagine how I did it. I think one of the several reasons for giving up illustrating was that I felt I had gone as far as I could regarding technique, it had been a steep learning curve for decades, and suddenly I had reached a plateau - all that was before me was more of the same, and although I still think of cars I would really like to have illustrated, and I am still enthusiastic about the subject - and love this thread - somehow the fire has gone out. Also, all the manual work I do now has changed my hands, no doubt they would eventually revert to their former shape, but after wielding a wrecking bar for a week, holding a pencil is a bit alien.

So, in other words, we all tend to gravitate to more or less the same starting point and process. The next big jump is digital, which I admire enormously, but don't personally want to make. However, having discussed this with Tom Johnson on this thread and privately, and with alansart, I feel sure that a background of some of the traditional techniques probably helps. I may be wrong.


Bit of a ramble...


I'm a real fan of painting and that is the thing that stands out for me Tony, your use of colour. I reckon a large paint brush would occasionally complement that wrecking bar nicely. It is time for you to let yourself loose on some landscapes. Ever seen Constable's oil sketches Tony? 'The Gleaners, Brighton' and 'Seascape Study with Rain Clouds' and 'Brighton Beach'.

Edited by werks prototype, 29 November 2009 - 21:24.


#2964 DHFiallo

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Posted 29 November 2009 - 21:53

Believe me Tony, I'm up to date. This is the first site I check when I go on the internet. The prospects of missing a gem of yours is unbearable. The low rez Jag is my post and I have snatched up everything else. I was hoping with the enormity of Macoran's and Ibsen's collection that they might have others to share. I honestly believe that if someone requests a cutaway of an alien space ship that one of them will have it!

#2965 DHFiallo

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Posted 29 November 2009 - 21:59

Sorry
Only Tamiya box art left is the Porsche 935 which is at least 4 times the size of my scanner.
Hope this is of some interest.

Jaguar XJR-8
http://img69.imagesh...jaguarxjr8.jpg/

Al


I have a scan of that Jag. It's 6648x4687 and it's 7.9 Mb. If anyone needs it let me know and I can email it to them.

#2966 Tony Matthews

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Posted 29 November 2009 - 22:12

I honestly believe that if someone requests a cutaway of an alien space ship that one of them will have it!

I've done one, but...I'm not allowed to show it! The lizards commissioned it, and - well, if they ask you to do something, it's best that you do, know what I mean? However, I might get away with posting a scan of it with its cloaking device operating, so here it is...

















Neat, eh?

#2967 macoran

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Posted 29 November 2009 - 22:13

I honestly believe that if someone requests a cutaway of an alien space ship that one of them will have it!

You said alien spaceship ? Here is Barron Storey's space shuttle
Posted Image

#2968 macoran

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Posted 29 November 2009 - 22:15

I've done one, but...I'm not allowed to show it! The lizards commissioned it, and - well, if they ask you to do something, it's best that you do, know what I mean? However, I might get away with posting a scan of it with its cloaking device operating, so here it is...

















Neat, eh?


That is what is called real "stealth" !! damn it Tony you are good at this stuff !

#2969 Tony Matthews

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Posted 29 November 2009 - 22:23

Thanks for the Gordon Bruce drawing. What I like about Bruce's style is its distinct period 'feel'. A modern carbon chassis single seater wouldn't fit his style, but a 'sixties spaceframe fits just perfectly...

An interesting comment Anders - I sometimes wonder how Jim Allington would have aproached carbon tubs. I asked him for some help once, as I was so snowed under with work and Marlboro were pressing for one of their exploded, annotated Indy Car illustrations. Jim agreed to take it on, and I delivered all the photos and a print of the cutaway of the car, plus a print of a previous exploded version. After a couple of days he phoned to say the he couldn't do it, as he just couldn't work out how it was put together, or came apart. I was very surprised, and not a little upset - but the difficulty he had was that his experience of race car construction had stopped more or less with the Lotus 49, and unlike me he hadn't been drawn along with the changes in technology. He'd moved from the last of the ladder chassis, through spaceframe to aluminium monocoques, and then stopped.

Or it could be that he just didn't want to do it...

#2970 Tony Matthews

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Posted 29 November 2009 - 22:25

You said alien spaceship ? Here is Barron Storey's space shuttle
Posted Image

Never heard of the gentleman, Marc, but that's cool! Glad it's not cloaked though, much more detail! Bruno Betti did a very good Shuttle too.

#2971 Tony Matthews

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Posted 29 November 2009 - 22:30

I'm a real fan of painting and that is the thing that stands out for me Tony, your use of colour. I reckon a large paint brush would occasionally complement that wrecking bar nicely. It is time for you to let yourself loose on some landscapes. Ever seen Constable's oil sketches Tony? 'The Gleaners, Brighton' and 'Seascape Study with Rain Clouds' and 'Brighton Beach'.

I've done a load of widow frames, two doors and a wardrobe recently - landscapes next! I have seen the Constables, wp, but I'll check 'em out to refresh my memory. Actually, the big problem I face is deciding how I want to paint - but I know I'll only reconcile that by starting...

#2972 Tony Matthews

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Posted 30 November 2009 - 00:20

...reminds me, Tony we still need some bits of that DB whotsit

Yes, sorry Marc, I hadn't forgotten about the wotsit, I just hadn't, er, done it.However, I have scanned and partly cleaned up the colour version...

Posted Image

Edited to replace the previous, partly cleaned-up image with the finished effort - the site where I'm working has turned into a quagmire, if not a curmudgeonly quagmire, so I had a couple of hours to spare. There is still a slight yellowy caste - on the illustration, not the site - but I haven't got the facilities to remove it.

Edited by Tony Matthews, 30 November 2009 - 12:09.


#2973 TWest

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Posted 30 November 2009 - 02:23

Tony,
Interesting situation with Allington and his reaction to the later technology. It is quite different with the CarbonFibre and all of that, so I could understand that he couldn't see his result coming out to be what he was always able to produce. Tough situation for both of you, it seems.
Since I have pretty much stuck with the hot rod stuff, they haven't ever been able to make much use of the carbon fibre structure. There have been some regressive uses for cockpit structures ... which really were just a bit of light scatter shielding. Can't imagine that it ever would have accomplished anything.
Anyway, thought I would throw a couple of more drawings out there for everyone this evening.

Posted Image

This is an old Firebird Funny Car that was built by Jess Tyree, one of the top Super Stock runners out of the early 60s. Jess ran this car very heavily in SoCal, then on the matchrace circuit as a part of the Coca-Cola Cavalcade of Stars circuit. He also took this car on the first US Drag Racing tour of Australia. Some guy who has run many fuel cars out of Oz was at Pomona for the Winternationals earlier this year, and went nuts actually meeting Jess and being able to sit at my table with him and talk. Turned out that the first Fuel car he ever saw run was this one ... and he has been hooked ever since.
Jess pointed out that the engine was actually a Canadian Pontiac (read: Chevrolet) big block, and that the frame was constructed completely from Aluminum. Even back then, that was illegal, but it certainly had a lot of runs on it for a 1800 pound car.
OK, that's enough story ...
Tom

#2974 TWest

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Posted 30 November 2009 - 02:29

OK, this is another one of those 8 drawings from my early phase, if I can call it that. The car is a little Chevy Nova Funny car on a home-brew chassis that was run by a friend of mine named Randy Walls. Randy actually runs a car now that pretty much duplicates this car in Nostalgia Funny Car racing. Very simple little car, which I think I might have made a little more structural, considering he was rolled over the rail at my home track with his previous car. Almost got killed in that one, but this doesn't look like they went overboard to build roll structure into the car.
Actually, the main reason that I started doing shoots on the cars was that his wife was one of the best built women in drag racing at the time, so I used to incorporate her into the shoots. That aspect of the research was much more amusing than the work on the car, and I have maintained that priority to this day.
Tom West

Posted Image

#2975 Tom Johnson

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Posted 30 November 2009 - 19:51

Yes, sorry Marc, I hadn't forgotten about the wotsit, I just hadn't, er, done it.However, I have scanned and partly cleaned up the colour version...

Posted Image

Edited to replace the previous, partly cleaned-up image with the finished effort - the site where I'm working has turned into a quagmire, if not a curmudgeonly quagmire, so I had a couple of hours to spare. There is still a slight yellowy caste - on the illustration, not the site - but I haven't got the facilities to remove it.


Tony - An element of your paintings that I am constantly dazzled by is your brilliant skill of mastering the range of tonal values to give dimension to the image......something I always struggle with. Do you have a secret method or formula which you utilise to acccomplish this? I also like the interest and effectiveness of all the reflection work on the body work. Do you get all that information from your photo reference?

#2976 Tony Matthews

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Posted 30 November 2009 - 21:33

Tony - An element of your paintings that I am constantly dazzled by is your brilliant skill of mastering the range of tonal values to give dimension to the image......something I always struggle with. Do you have a secret method or formula which you utilise to acccomplish this? I also like the interest and effectiveness of all the reflection work on the body work. Do you get all that information from your photo reference?

Hi Tom - you are too kind. No, no secret method or formula, apart from making the top lighter than the sides! Most historic stuff has been photographed outside, under the available sky, so effectively I have, usually in B&W, a guide to highlights, shadows and reflections. It is helpful if the light is not too high, be it sun or bright thin cloud, and oddly, I have realized, a nearby building - and there were usually nearby buildings - can help to give some form with their reflections. The harder ones are cars photographed indoors under multiple strip-lights, or subjects like nearly every ChampCar I did - unpainted carbon under multiple strip lights! Given no clues at all I would probably struggle to make the bodywork look totally realistic, but some genuine photographic reference doesn't look realistic once the vehicle is taken out of context, or if a lovely bit of reflection that enhances the whole vehicle is... cut away! Some of my best bits of bodywork are on the cutting-room floor!

There is nearly always the chance of finding good reference somewhere - surely I am not the only illustrator to have taken cuttings from car magazines, thinking "That's nice, it might come in handy!"? Even holding a model of a similar car in you hand, or placing it on a table, will give some clues as to how to define the contours of the body. The Aston Martin DB3S had the 'razor-edge' bodywork, with pronounced chines running the full length of the car over the wheel arches, which is why there is the 'string' of bodywork along the LH front wing, but as far as lighting goes, the chines are really only noticeable on the rear wings, particularly the RH rear.

Quite honestly, I just painted and hoped, not knowing if it was going to look OK until it was finished. Obviously, the darker the paint finish, the greater tonal range you have to play with - a white car is a pain, a black or very dark colour is so much easier. I did a series of renderings of early Williams' F1 cars some years ago, and struggled with the white nose of the FW08. I made some small comment to Patrick Head about the difficulty of making white look really shiney and smart, but when I came to do the FW10 (the FW09 was not commissioned) there was a lovely dark blue nose! I don't think for one moment that my comment had any effect on the scheme, but it would be nice if it had...

#2977 Tony Matthews

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Posted 30 November 2009 - 23:59

Posted Image

Next to a nice bit of bodywork, it helps to have some tasty mechanical bits to look forward to drawing or painting - in the case of the Lancia D50 as soon as I saw the mesh guards over the carb trumpets I thought "Aha!" or something similar. The trick with mesh is, depending on scale, not to over-emphasize the highlights, I think. You need some, to give shape and directional lighting, but if you are not carefull they turn into one big mesh highlight - not very nice. I nearly always went over the top when airbrushing a flick of white on a screen. One light spray - not enough. Another - still not enough. One more - ruined. Hot tears and bitter recriminations.

Edited by Tony Matthews, 01 December 2009 - 00:08.


#2978 Manfred Cubenoggin

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Posted 01 December 2009 - 00:46

Tony: Simply smashng! Your artwork of the Lancia D50 engine bay. I swear, I could reach out and touch it. :)

TYVM for posting this...as well as the whole host of others.



#2979 H05TYL

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Posted 01 December 2009 - 03:54

Sorry
Only Tamiya box art left is the Porsche 935 which is at least 4 times the size of my scanner.

Al


what about Tamiya's 1/24th Mazda 787B LeMans winner?

Posted Image
full size image (3022×1853) can be found here
http://fc01.devianta...by_SquidInc.jpg

Edit: I don't have a scanner so merely took a photo with my digital camera then edited it to remove words/etc and adjust contrast.


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#2980 TWest

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Posted 01 December 2009 - 05:57

Those Tamiya products were around as good as any modelkits ever done. I have all of their Sports Racing cars, as well as the Formula cars, and don't think they have ever been matched on a consistent basis. The cutaways on the cover always seemed to lend credibility to the products, as I felt that if they went to that much trouble for a cover, how much more must they have on the inside?
I got caught up in a situation that went the opposite direction when I did some cover illustrations for Haynes Manuals over here. They had signed David Kimball, who had one of his guys doing the linework, and David would then add the airbrush for the texture. I was brought in just to be a possible backup, which seemed appropriate. The first one that I did for them was a big Ford Van, which I thought was one of the toughest things I had done. I put in a bunch of the internal systems, and thought it looked pretty decent. Bringing it in for review, we went into the group manager's office, where he questioned that it had so much detail in the drawing. They had evidently gotten some focus group reaction that indicated that their customer was scared off by the details on the cover; their direction was to do a very undetailed and simplistic looking cutaway so it looked like it had to be simple to work on a car with one of the Haynes manuals. The two guys that I had worked with sort of slunk out and let me sit with this moron. I took the thing home and proceeded to put in about 15 hours cleaning out about 20 hours worth of detail work so make it simple enough for him.
Wish I could have held onto that process, but they have eliminated the entire cutaway process from the manuals. Too bad, as they had used years of really nice looking drawings by Terry Davey that I really liked a lot.
I produced two others, each simpler, and got a better reaction on the last one than either of the other two, and I consider it to be one of the weakest drawings that I have done ... shows what I know, I guess.
Thanks for that great detail section on the Lancia engine, by the way. That just continuously shows that I can at least pick the right guys to wish to emulate ...
Tom West

#2981 DHFiallo

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Posted 01 December 2009 - 14:50

what about Tamiya's 1/24th Mazda 787B LeMans winner?

Posted Image
full size image (3022×1853) can be found here
http://fc01.devianta...by_SquidInc.jpg

Edit: I don't have a scanner so merely took a photo with my digital camera then edited it to remove words/etc and adjust contrast.


Thanks, I really loved that era. If you have others let me know. If it's not too much bother. :)

#2982 macoran

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Posted 01 December 2009 - 23:04

Posted Image

I will never be able to understand how you do that Tony !
Just love the D50A chassis marking on the chassis tube on the right.

Edited by macoran, 01 December 2009 - 23:07.


#2983 Tony Matthews

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Posted 01 December 2009 - 23:35

I will never be able to understand how you do that Tony !
Just love the D50A chassis marking on the chassis tube on the right.

Wow! Marc, I didn't think I could still impress you - your enthusiasm for and knowledge of Technical Illustration is inspirational, thanks for everything...

#2984 macoran

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Posted 02 December 2009 - 19:13

I didn't think I could still impress you -

probaby because I did do some drawing and found it very difficult,especially getting the detail you achieve !

Here is a Ligier JS11/15 for all to enjoy
Posted Image
by J.J.Francois

#2985 Bonde

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Posted 02 December 2009 - 20:44

Tony,

Your craftsmanship and artistry is simply and utterly amazing! I'm glad you chose the illustration route when you did - with that staggering hand-eye coordination (which, to me, it's very much about) you could have become a top notch neurosurgeon (and probably very rich!) had you chosen to do so, but then we would never have seen your wonderful cutaways...

How big is that 'scrap' view of the Lancia illustration in full size? I just can't understand how you can control a brush that is so fine that you can do that mesh - it ain't for mere mortals...




(..and yes, I am trying to hit #3000, although I really feel that you, Marc or Ibsen are more deserving...)


#2986 Bonde

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Posted 02 December 2009 - 20:45

...BTW, your next post will be your 6000th, no less...and I'm not even at my first kilo yet...

#2987 Tony Matthews

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Posted 02 December 2009 - 21:12

How big is that 'scrap' view of the Lancia illustration in full size? I just can't understand how you can control a brush that is so fine that you can do that mesh - it ain't for mere mortals...

The scrap view is, on the original, 207mm wide. On my screen it is 196mm, so only a few percent smaller than full-size. Are images all the same, regardless of actual screen size? I have pondered over that occasionally, and have concluded that they can't be - my screen is quite big, 22" or 550mm on the diagonal.

The mesh was done with a ruling pen loaded with gouache and an elipse guide, or some appropriate curve, and the highlights added with a brush.

I've only just realized what you meant by '6000th post'! Just proves that I've got too much to say, and although I am working hard at the moment I've still got too much time on my hands!

#2988 macoran

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Posted 02 December 2009 - 22:29

I recall quite some posts ago, Tony mentioning having a bit of a shock seeing a certain cutaway by another artist.
He remarked that was because it was projected in the same angle/viewpoint.
Werner Bührer and Paolo d'Alessio must have had a bit of a fright when they saw each others March 721X published !
Posted Image

Edited by macoran, 02 December 2009 - 22:36.


#2989 macoran

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Posted 02 December 2009 - 22:33

I've still got too much time on my hands!

We could set you an assignment or two Tony !

#2990 DHFiallo

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Posted 03 December 2009 - 18:25

We could set you an assignment or two Tony !


Brain surgeon/artist/general contractor...sir, you are making us mere mortals feel inadequate and lazy. Please stop! I have finally convinced my better half that only so much can be done in a day, and by your example I should be working on something magnificent.

#2991 Tony Matthews

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Posted 03 December 2009 - 18:51

There are many, DHF, that work harder than me, and achieve more. The laugh is that the Child Bride doesn't think that I do anything...

#2992 macoran

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Posted 03 December 2009 - 21:56

Puzzling.................
1964 A.J.Foyt Sheraton Thompson Hallibrand Ford V8 Indy racer
Posted Image
by Dave Kimble

could that be the same David Kimble of the stunning series of Corvettes ?

Edited by macoran, 03 December 2009 - 22:00.


#2993 macoran

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Posted 03 December 2009 - 22:13

Just posted this Matra MS10 by Robert Roux in the "Matra" thread, might as well post it here too.
Posted Image

#2994 TWest

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Posted 03 December 2009 - 23:07

Puzzling.................
1964 A.J.Foyt Sheraton Thompson Hallibrand Ford V8 Indy racer
Posted Image
by Dave Kimble

could that be the same David Kimble of the stunning series of Corvettes ?


Marc,
That would be the same guy ... he did a couple of other Indy cars around that same time, along with a couple of other line drawings before he got hooked up sharing an office with an illustrator who specialized in air brush. Fredericks or something along that line, who did some amazing work. I guess Kimball got associated with his agent, too, and the rest is history ...
I have some really cleaned up versions of this and the others from this time period, although they drop out of the ether on occasion ...
Thanks for sending this one out; it is a good example of early work by David, and certainly shows how far he has come in his work.
I am trying to upload some scans of some James Allington work that I haven't seen on this board, but it seems to be spotty as to what and when ImageShack will accept a connection. Thought I was doing something wrong, but it takes it ... then it won't. I have about 50 or so set up, if I can get the damned things into the system ...
Tom West


#2995 ibsenop

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Posted 03 December 2009 - 23:16

Matra 650 by Robert Roux

Posted Image

Ibsen

#2996 TWest

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Posted 04 December 2009 - 00:36

Posted Image

Starting off with a couple of the Allington images that I have just scanned into the system. I have wanted to get decent images of these, and hopefully, I have accomplished that. I have not seen these come from the Board yet, so it will, hopefully, add to everyone's collection a bit.
I am starting with the 1963 Ferrari V6 Formula 1 car. It was published here in Car & Driver in December of that year. As I look more closely, I didn't quite clean it up as much as I thought, but will do better for you next time.
Tom West

#2997 TWest

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Posted 04 December 2009 - 00:39

Posted Image

Another of those classic James Allington pieces; the BRM V8 from 1963. It was also from that same December issue of Car & Driver.
Tom West

#2998 TWest

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Posted 04 December 2009 - 00:53

Posted Image

Last one for the moment. Just went back and picked some of the zits out that I had missed in the scans, but have left them as they are here. Not horrible, and should not take much to clean up if you are interested.
This is the Allington version of the 1963 Brabham Formula 1 out of that December issue of Car & Driver again.
Tom West

#2999 Henri Greuter

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Posted 04 December 2009 - 08:54

Puzzling.................
1964 A.J.Foyt Sheraton Thompson Hallibrand Ford V8 Indy racer
Posted Image
by Dave Kimble

could that be the same David Kimble of the stunning series of Corvettes ?




Macoran,

This is not an A.J. Foyt's car. This is the drawing of the car in which Eddie Sachs had that fatal accident that year 1964. It is a Shrike-Ford
Not to badmouth you but putting the reords straight OK?
Foyt drove a Watson-Offy that year and won the race with it.


Thnaks for posting it. If my memory is correct, this drawing also appeared in the 1964 Clymer yearbook.


Greetings,

Henri

Edited by Henri Greuter, 04 December 2009 - 08:55.


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#3000 Bonde

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Posted 04 December 2009 - 16:43

Bingo!

ETA: Darn! I missed by a single, solitary post...had I logged on earlier...

/fluff

Edited by Bonde, 04 December 2009 - 16:44.